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[16:32:35] Record #1

[16:32:35] ACTION: pmxi_before_post_import ...

[16:32:35] Combine all data for post `Ace Ventura: When Nature Calls (1995)`...

[16:32:35] Find corresponding article among previously imported for post `Ace Ventura: When Nature Calls (1995)`...

[16:32:35] Duplicate post wasn't found with unique key `1693`...

[16:32:35] Applying filter `pmxi_article_data` for `Ace Ventura: When Nature Calls (1995)`

[16:32:35] CREATING `Ace Ventura: When Nature Calls (1995)` `Resource`

[16:32:35] Associate post `Ace Ventura: When Nature Calls (1995)` with current import ...

[16:32:35] CUSTOM FIELDS:

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Ace Ventura: When Nature Calls (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

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[16:32:35] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Ace Ventura: When Nature Calls (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

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[16:32:35] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Ace Ventura: When Nature Calls (1995)` ...

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[16:32:35] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Ace Ventura: When Nature Calls (1995)` ...

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[16:32:35] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Ace Ventura: When Nature Calls (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

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[16:32:35] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Ace Ventura: When Nature Calls (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

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[16:32:35] - Custom field `include_video` will be updated with value `1` for post `Ace Ventura: When Nature Calls (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

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[16:32:35] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Ace Ventura: When Nature Calls (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

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[16:32:35] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Ace Ventura: When Nature Calls (1995)` ...

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[16:32:35] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Ace Ventura: When Nature Calls (1995)` ...

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[16:32:35] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `“L’Attesa” (“The Wait”), Piero Messina’s debut feature, is an elegant melodrama of maternal grief with overtones of horror, a psychological rather than a supernatural ghost story. Set in Sicily around Easter, the film partakes freely of religious imagery to add gravity and mystery to its domestic tale of loss, longing and deceit. The landscape — volcanic rock and quiet forests surrounding a sparkling lake — is captured in long, wide takes, a beauty surpassed story only by close-ups of the two lead actresses, Juliette Binoche and Lou de Laâge. Ms. Binoche plays Anna, a Frenchwoman who lives on an estate that belonged to her former husband’s family. Ms. de Laâge is Jeanne, the French girlfriend of Anna’s son, Giuseppe. Jeanne, who has never met Anna, arrives for a visit at a tragically inconvenient moment. Giuseppe has just died in an accident — the first images in “L’Attesa” are of his funeral — and Anna is too distraught to break the news to Jeanne. When the young woman calls from the airport, Anna tells her that Giuseppe isn’t home and dispatches the caretaker, Pietro (Giorgio Colangeli), to pick her up. “I’m waiting for the right moment to tell her,” Anna tells her sister-in-law after Jeanne has stumbled downstairs into a houseful of black-clad mourners. But Anna’s lie, initially a sin of omission, grows deeper, more complicated and more cruel as Jeanne hangs around, waiting for her lover to return and leaving plaintive messages on his cellphone. Anna listens to them, with what seems to be a complicated blend of masochism, jealousy and wishful thinking — as if the fact that someone believes her son is still alive might make him less dead. “L’Attesa,” loosely based on a 1923 play by Luigi Pirandello called “The Life I Gave You,” is a delicate, slightly artificial study in time and emotion. Its slow pace captures the stasis of Anna’s condition, her feeling of being stuck in an agonizing limbo between denial and acceptance. Jeanne’s presence is both an unbearable reminder of her own loss and a token of her son’s presence, and Mr. Messina is more interested in the nuances of the situation than in the mechanics of plot. At times the plausibility of the story starts to fray, but the feelings and images are strong enough to keep such doubts in check. The setting has an atavistic, primal grandeur. Sicily is a place of ancient blood feuds, medieval rituals and Greek tragedies. And there is something similarly timeless about the contours of Ms. Binoche’s face. In anguish and repose, Anna could be a figure in an Italian Renaissance painting, a pale image of sorrow against a dark background. Jeanne, first seen in the blinding, sterile light of the airport, can seem as much a time traveler as a tourist, a visitor from the European modernity that is also Anna’s native realm. She comes to regard her would-be mother-in-law — there’s no real word for what they are to each other — as a wise aunt or an older sister, and despite the weirdness of the circumstances, the two women strike up a tentative friendship. It’s a pleasure to watch Ms. Binoche and Ms. de Laâge onscreen together. And there are scenes of each of them alone that are piercing and lovely. At one point, Anna wraps her arms around an inflatable raft and releases the valve, catching her son’s preserved breath on her face as it escapes. “L’Attesa,” while it is about the stasis and confinement of its characters, suffers from a different kind of claustrophobia. A model of craft, refinement and visual decorum, it is both a hothouse flower and a cinematic hothouse, nurturing blossoms of exquisite feeling protected from the air of reality. Compared, say, with the Sicily of Michelangelo Antonioni’s “L’Avventura” or (to take a more recent example, also starring Ms. Binoche) the Alps of Olivier Assayas’s “Clouds of Sils Maria,” Mr. Messina’s Sicily has the shallow picturesqueness of a tourist destination. And Anna’s house, a stately pile of stones, is little more than an impressive piece of real estate, haunted not by history but by a single ghost. The performances are vivid and moving, but there is ultimately less to this well-made, impeccably acted film than meets the eye. Its meticulousness is to some degree a flaw, an evasion of nearly every variety of human messiness. You wait in vain for the full weight of bereavement to become apparent, and also for an indication of the density of experience. You wait in gorgeous surroundings, in marvelous company, for something that never arrives. “L’Attesa” (“The Wait”) is not rated. It is in Italian and French, with English subtitles. Running time: 1 hour 50 minutes.` for post `Ace Ventura: When Nature Calls (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Ace Ventura: When Nature Calls (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Ace Ventura: When Nature Calls (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Ace Ventura: When Nature Calls (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

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[16:32:35] - Custom field `video_url` will be updated with value `https://vimeo.com/136567` for post `Ace Ventura: When Nature Calls (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Ace Ventura: When Nature Calls (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

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[16:32:35] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Ace Ventura: When Nature Calls (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Ace Ventura: When Nature Calls (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

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[16:32:35] - Custom field `include_document` will be updated with value `1` for post `Ace Ventura: When Nature Calls (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_synposis` will be updated with value `“L’Attesa” (“The Wait”), Piero Messina’s debut feature, is an elegant melodrama of maternal grief with overtones of horror, a psychological rather than a supernatural ghost story. Set in Sicily around Easter, the film partakes freely of religious imagery to add gravity and mystery to its domestic tale of loss, longing and deceit. The landscape — volcanic rock and quiet forests surrounding a sparkling lake — is captured in long, wide takes, a beauty surpassed story only by close-ups of the two lead actresses, Juliette Binoche and Lou de Laâge. Ms. Binoche plays Anna, a Frenchwoman who lives on an estate that belonged to her former husband’s family. Ms. de Laâge is Jeanne, the French girlfriend of Anna’s son, Giuseppe. Jeanne, who has never met Anna, arrives for a visit at a tragically inconvenient moment. Giuseppe has just died in an accident — the first images in “L’Attesa” are of his funeral — and Anna is too distraught to break the news to Jeanne. When the young woman calls from the airport, Anna tells her that Giuseppe isn’t home and dispatches the caretaker, Pietro (Giorgio Colangeli), to pick her up. “I’m waiting for the right moment to tell her,” Anna tells her sister-in-law after Jeanne has stumbled downstairs into a houseful of black-clad mourners. But Anna’s lie, initially a sin of omission, grows deeper, more complicated and more cruel as Jeanne hangs around, waiting for her lover to return and leaving plaintive messages on his cellphone. Anna listens to them, with what seems to be a complicated blend of masochism, jealousy and wishful thinking — as if the fact that someone believes her son is still alive might make him less dead. “L’Attesa,” loosely based on a 1923 play by Luigi Pirandello called “The Life I Gave You,” is a delicate, slightly artificial study in time and emotion. Its slow pace captures the stasis of Anna’s condition, her feeling of being stuck in an agonizing limbo between denial and acceptance. Jeanne’s presence is both an unbearable reminder of her own loss and a token of her son’s presence, and Mr. Messina is more interested in the nuances of the situation than in the mechanics of plot. At times the plausibility of the story starts to fray, but the feelings and images are strong enough to keep such doubts in check. The setting has an atavistic, primal grandeur. Sicily is a place of ancient blood feuds, medieval rituals and Greek tragedies. And there is something similarly timeless about the contours of Ms. Binoche’s face. In anguish and repose, Anna could be a figure in an Italian Renaissance painting, a pale image of sorrow against a dark background. Jeanne, first seen in the blinding, sterile light of the airport, can seem as much a time traveler as a tourist, a visitor from the European modernity that is also Anna’s native realm. She comes to regard her would-be mother-in-law — there’s no real word for what they are to each other — as a wise aunt or an older sister, and despite the weirdness of the circumstances, the two women strike up a tentative friendship. It’s a pleasure to watch Ms. Binoche and Ms. de Laâge onscreen together. And there are scenes of each of them alone that are piercing and lovely. At one point, Anna wraps her arms around an inflatable raft and releases the valve, catching her son’s preserved breath on her face as it escapes. “L’Attesa,” while it is about the stasis and confinement of its characters, suffers from a different kind of claustrophobia. A model of craft, refinement and visual decorum, it is both a hothouse flower and a cinematic hothouse, nurturing blossoms of exquisite feeling protected from the air of reality. Compared, say, with the Sicily of Michelangelo Antonioni’s “L’Avventura” or (to take a more recent example, also starring Ms. Binoche) the Alps of Olivier Assayas’s “Clouds of Sils Maria,” Mr. Messina’s Sicily has the shallow picturesqueness of a tourist destination. And Anna’s house, a stately pile of stones, is little more than an impressive piece of real estate, haunted not by history but by a single ghost. The performances are vivid and moving, but there is ultimately less to this well-made, impeccably acted film than meets the eye. Its meticulousness is to some degree a flaw, an evasion of nearly every variety of human messiness. You wait in vain for the full weight of bereavement to become apparent, and also for an indication of the density of experience. You wait in gorgeous surroundings, in marvelous company, for something that never arrives. “L’Attesa” (“The Wait”) is not rated. It is in Italian and French, with English subtitles. Running time: 1 hour 50 minutes.` for post `Ace Ventura: When Nature Calls (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Ace Ventura: When Nature Calls (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

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[16:32:35] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `“L’Attesa” (“The Wait”), Piero Messina’s debut feature, is an elegant melodrama of maternal grief with overtones of horror, a psychological rather than a supernatural ghost story. Set in Sicily around Easter, the film partakes freely of religious imagery to add gravity and mystery to its domestic tale of loss, longing and deceit. The landscape — volcanic rock and quiet forests surrounding a sparkling lake — is captured in long, wide takes, a beauty surpassed story only by close-ups of the two lead actresses, Juliette Binoche and Lou de Laâge. Ms. Binoche plays Anna, a Frenchwoman who lives on an estate that belonged to her former husband’s family. Ms. de Laâge is Jeanne, the French girlfriend of Anna’s son, Giuseppe. Jeanne, who has never met Anna, arrives for a visit at a tragically inconvenient moment. Giuseppe has just died in an accident — the first images in “L’Attesa” are of his funeral — and Anna is too distraught to break the news to Jeanne. When the young woman calls from the airport, Anna tells her that Giuseppe isn’t home and dispatches the caretaker, Pietro (Giorgio Colangeli), to pick her up. “I’m waiting for the right moment to tell her,” Anna tells her sister-in-law after Jeanne has stumbled downstairs into a houseful of black-clad mourners. But Anna’s lie, initially a sin of omission, grows deeper, more complicated and more cruel as Jeanne hangs around, waiting for her lover to return and leaving plaintive messages on his cellphone. Anna listens to them, with what seems to be a complicated blend of masochism, jealousy and wishful thinking — as if the fact that someone believes her son is still alive might make him less dead. “L’Attesa,” loosely based on a 1923 play by Luigi Pirandello called “The Life I Gave You,” is a delicate, slightly artificial study in time and emotion. Its slow pace captures the stasis of Anna’s condition, her feeling of being stuck in an agonizing limbo between denial and acceptance. Jeanne’s presence is both an unbearable reminder of her own loss and a token of her son’s presence, and Mr. Messina is more interested in the nuances of the situation than in the mechanics of plot. At times the plausibility of the story starts to fray, but the feelings and images are strong enough to keep such doubts in check. The setting has an atavistic, primal grandeur. Sicily is a place of ancient blood feuds, medieval rituals and Greek tragedies. And there is something similarly timeless about the contours of Ms. Binoche’s face. In anguish and repose, Anna could be a figure in an Italian Renaissance painting, a pale image of sorrow against a dark background. Jeanne, first seen in the blinding, sterile light of the airport, can seem as much a time traveler as a tourist, a visitor from the European modernity that is also Anna’s native realm. She comes to regard her would-be mother-in-law — there’s no real word for what they are to each other — as a wise aunt or an older sister, and despite the weirdness of the circumstances, the two women strike up a tentative friendship. It’s a pleasure to watch Ms. Binoche and Ms. de Laâge onscreen together. And there are scenes of each of them alone that are piercing and lovely. At one point, Anna wraps her arms around an inflatable raft and releases the valve, catching her son’s preserved breath on her face as it escapes. “L’Attesa,” while it is about the stasis and confinement of its characters, suffers from a different kind of claustrophobia. A model of craft, refinement and visual decorum, it is both a hothouse flower and a cinematic hothouse, nurturing blossoms of exquisite feeling protected from the air of reality. Compared, say, with the Sicily of Michelangelo Antonioni’s “L’Avventura” or (to take a more recent example, also starring Ms. Binoche) the Alps of Olivier Assayas’s “Clouds of Sils Maria,” Mr. Messina’s Sicily has the shallow picturesqueness of a tourist destination. And Anna’s house, a stately pile of stones, is little more than an impressive piece of real estate, haunted not by history but by a single ghost. The performances are vivid and moving, but there is ultimately less to this well-made, impeccably acted film than meets the eye. Its meticulousness is to some degree a flaw, an evasion of nearly every variety of human messiness. You wait in vain for the full weight of bereavement to become apparent, and also for an indication of the density of experience. You wait in gorgeous surroundings, in marvelous company, for something that never arrives. “L’Attesa” (“The Wait”) is not rated. It is in Italian and French, with English subtitles. Running time: 1 hour 50 minutes.` for post `Ace Ventura: When Nature Calls (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

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[16:32:35] - ACTION: pmxi_update_post_meta

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[16:32:35] - Custom field `document_synopsis` will be updated with value `` for post `Ace Ventura: When Nature Calls (1995)` ...

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[16:32:35] - ACTION: pmxi_update_post_meta

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[16:32:35] - ACTION: pmxi_update_post_meta

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[16:32:35] ACTION: pmxi_after_post_import

[16:32:35] ---

[16:32:35] Record #2

[16:32:35] ACTION: pmxi_before_post_import ...

[16:32:35] Combine all data for post `Toy Story (1995)`...

[16:32:35] Find corresponding article among previously imported for post `Toy Story (1995)`...

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[16:32:35] Applying filter `pmxi_article_data` for `Toy Story (1995)`

[16:32:35] CREATING `Toy Story (1995)` `Resource`

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[16:32:35] CUSTOM FIELDS:

[16:32:35] - ACTION: pmxi_custom_field

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[16:32:35] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Toy Story (1995)` ...

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[16:32:35] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Toy Story (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

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[16:32:35] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Toy Story (1995)` ...

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[16:32:35] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Toy Story (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Toy Story (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

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[16:32:35] - Custom field `include_video` will be updated with value `1` for post `Toy Story (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Toy Story (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Toy Story (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Toy Story (1995)` ...

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[16:32:35] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this documentary, filmed aboard the International Space Station. Directed by Toni Myers and made in cooperation with NASA, most of “A Beautiful Planet” was shot by astronauts while on monthslong space missions. From the space station they carried out research and space-walked to make needed repairs. And through it all, they took videos of our planet. To see vast oceans, immense deserts and mountain ranges from so high up is both humbling and inspiring. And scenes of mighty lightning storms, the aurora borealis and cities illuminated at night are magnificent. Just as fun is observing the astronauts as they handle seemingly simple tasks while weightless. A crew member floating as she sleeps looks supernatural; seeing another getting in and out of his spacesuit has a Marx Brothers-like quality. And I can say without reservation that I’ve never been so fascinated by watching a man shampoo his hair. Ms. Myers is an efficient director and editor, though her script could have used a few more of those personal moments to prevent viewer fatigue that may set in after the succession of huge images. Additional specifics on the missions and the science would also have been helpful. Still, this film, which is smoothly narrated by Jennifer Lawrence, finds a nice balance: It’s appealing to adults and accessible to younger viewers. And it delivers an environmental message that is strong and serious while remaining encouraging and optimistic. That’s important to hear. The rest is just amazing to watch.` for post `Toy Story (1995)` ...

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[16:32:35] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Toy Story (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

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[16:32:35] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Toy Story (1995)` ...

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[16:32:35] - Custom field `video_synposis` will be updated with value `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this documentary, filmed aboard the International Space Station. Directed by Toni Myers and made in cooperation with NASA, most of “A Beautiful Planet” was shot by astronauts while on monthslong space missions. From the space station they carried out research and space-walked to make needed repairs. And through it all, they took videos of our planet. To see vast oceans, immense deserts and mountain ranges from so high up is both humbling and inspiring. And scenes of mighty lightning storms, the aurora borealis and cities illuminated at night are magnificent. Just as fun is observing the astronauts as they handle seemingly simple tasks while weightless. A crew member floating as she sleeps looks supernatural; seeing another getting in and out of his spacesuit has a Marx Brothers-like quality. And I can say without reservation that I’ve never been so fascinated by watching a man shampoo his hair. Ms. Myers is an efficient director and editor, though her script could have used a few more of those personal moments to prevent viewer fatigue that may set in after the succession of huge images. Additional specifics on the missions and the science would also have been helpful. Still, this film, which is smoothly narrated by Jennifer Lawrence, finds a nice balance: It’s appealing to adults and accessible to younger viewers. And it delivers an environmental message that is strong and serious while remaining encouraging and optimistic. That’s important to hear. The rest is just amazing to watch.` for post `Toy Story (1995)` ...

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[16:32:35] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this documentary, filmed aboard the International Space Station. Directed by Toni Myers and made in cooperation with NASA, most of “A Beautiful Planet” was shot by astronauts while on monthslong space missions. From the space station they carried out research and space-walked to make needed repairs. And through it all, they took videos of our planet. To see vast oceans, immense deserts and mountain ranges from so high up is both humbling and inspiring. And scenes of mighty lightning storms, the aurora borealis and cities illuminated at night are magnificent. Just as fun is observing the astronauts as they handle seemingly simple tasks while weightless. A crew member floating as she sleeps looks supernatural; seeing another getting in and out of his spacesuit has a Marx Brothers-like quality. And I can say without reservation that I’ve never been so fascinated by watching a man shampoo his hair. Ms. Myers is an efficient director and editor, though her script could have used a few more of those personal moments to prevent viewer fatigue that may set in after the succession of huge images. Additional specifics on the missions and the science would also have been helpful. Still, this film, which is smoothly narrated by Jennifer Lawrence, finds a nice balance: It’s appealing to adults and accessible to younger viewers. And it delivers an environmental message that is strong and serious while remaining encouraging and optimistic. That’s important to hear. The rest is just amazing to watch.` for post `Toy Story (1995)` ...

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[16:32:35] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `The cinema of seduction doesn’t get much more overheated than “A Bigger Splash,” an Italian come-on that doesn’t just want to amuse you, but also to pour you a Negroni before taking you for a midnight spin with the top down. Set on an Italian island slithering with snakes and beautiful people, the movie is something of a reluctant thriller about a rock star, her current lover, her former lover and a pretty young thing. Bad things happen, because, you know, life is pain — in the meantime, though, do enjoy the magnificent digs, the designer threads and the frolicking nude stars. The last time the director Luca Guadagnino trained his sights on Tilda Swinton, she was suffering under the Milanese sun in “I Am Love,” playing an unhappy wife fluttering in a gilded cage. This time, Ms. Swinton plays a rock star, Marianne Lane, who shortly after “A Bigger Splash” opens, is sunbathing au naturel next to a pool, as her lover, Paul (Matthias Schoenaerts), dozes nearby. They’re a delectable pair of sexy beasts, ensconced on a jaw-slackening compound on Pantelleria, a volcanic island in the strait of Sicily that’s within viewing distance of Tunisia. Marianne has recently had career-lengthening throat surgery, a procedure that’s rendered her near-speechless. With her preternatural stillness and sculptured hauteur, Ms. Swinton has always looked ready for her close-up with D. W. Griffith; few contemporary movie actresses can hold you with their gaze as effortlessly as she does. Marianne’s radio silence is a storytelling contrivance (for personal reasons, Ms. Swinton agreed to appear in the movie if she didn’t speak), but it adds to the character’s celebrity aura and deepens the sense of isolation conveyed by the location. And while Marianne whispers when she feels like it, her relative silence works both for Ms. Swinton — it draws you closer to her — and for Mr. Guadagnino, a voluptuary who revels in the surface beauty of the natural and unnatural worlds. Marianne and Paul’s private bliss-out is disrupted by the unexpected arrival of an old friend, a music producer, Harry (a sensational Ralph Fiennes), a motormouth who roars in with his daughter, Penelope (Dakota Johnson). She’s recently learned that Harry is her father and now, for reasons that thicken the mystery, he has dragged her to Pantelleria without a hotel reservation, which is how they end up crashing at Marianne and Paul’s hideaway. There, with icy and warm chatter flowing on rivers of booze, the characters circle one another as Mr. Guadagnino, working from David Kajganich’s script, fills in the background with wayward looks, wanton caresses and flashbacks. “A Bigger Splash” is based on Jacques Deray’s 1969 film “La Piscine” (“The Swimming Pool”), one of those idle-rich soaps in which trouble pulls up in a Maserati. A few years ago, the luxury-goods company Christian Dior recycled images of that film’s heartthrob attraction, Alain Delon, in an ad campaign for its cologne Eau Sauvage that used the Rolling Stones’ “Sympathy for the Devil.” The playlist for “A Bigger Splash” includes a couple of Stones songs as well, notably “Emotional Rescue,” which is in rotation with Harry Nilsson, Giuseppe Verdi, 1970s Brazilian classics and Hollywood’s eternal bad boy Robert Mitchum murdering the calypso ditty “Beauty Is Only Skin Deep.” Mr. Guadagnino, in other words, knows how to decorate a movie, from Marianne’s manicured head to Penelope’s perfectly photographed bellybutton. Every fetishized element — the glorious house, the tiled pool, Marianne’s Dior outfits and the scrubbiest of vistas — looks ravishing, ready for a close-up, too. The world that Mr. Guadagnino creates is at once seductive and aspirational, and another reminder that movies have always excelled at stoking consumer desires. Much like Nancy Meyers (“The Intern”), Mr. Guadagnino excels at creating lifestyle pornography of an especially rarefied kind, although in classic European style, he gilds the pleasure with some political guilt. Not too much, mind you, just enough to give the whole thing a patina of seriousness. Much like the faded hammer-and-sickle tattoo embellishing Harry’s oft-bared chest, the movie’s politics come across as self-consciously ornamental. At times, as with the topical references to refugees (a few of whom are seen huddled in detention), these glimpses of the larger, agonizing world are clearly meant to say something about the characters and their insularity. Mr. Guadagnino may be actually trying to assuage his conscience (or ours), as if to do penance for all this careless opulence. Yet these moments register as ritualistic at best, opportunistic at worst, and you wish he wouldn’t even bother. Consciously or not, Mr. Guadagnino makes a more convincing political case when he just lets his characters meander and do what they do best, which is living idly, fabulously. You could read an entire history of civilization and capitalism in how Marianne drapes her legs across a lounger or strides into a humble Italian home to sample some homemade ricotta. Ms. Swinton conveys casual entitlement like someone to the manner born, which gives Marianne’s teasing exchanges with Harry an increasingly discomfiting quality. Harry has come to the island for something he feverishly wants and believes he needs. He’s a man on a desperate mission, one that Mr. Fiennes, with a wildly flapping mouth and manic limbs, turns into a raw, indelible portrait of loss. “A Bigger Splash” is rated R (under 17 requires accompanying parent or adult guardian). Adults behaving like adults, only naughtier and far nastier. Running time: 2 hours 4 minutes.` for post `Jumanji (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

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[16:32:35] - Custom field `video_synposis` will be updated with value `The cinema of seduction doesn’t get much more overheated than “A Bigger Splash,” an Italian come-on that doesn’t just want to amuse you, but also to pour you a Negroni before taking you for a midnight spin with the top down. Set on an Italian island slithering with snakes and beautiful people, the movie is something of a reluctant thriller about a rock star, her current lover, her former lover and a pretty young thing. Bad things happen, because, you know, life is pain — in the meantime, though, do enjoy the magnificent digs, the designer threads and the frolicking nude stars. The last time the director Luca Guadagnino trained his sights on Tilda Swinton, she was suffering under the Milanese sun in “I Am Love,” playing an unhappy wife fluttering in a gilded cage. This time, Ms. Swinton plays a rock star, Marianne Lane, who shortly after “A Bigger Splash” opens, is sunbathing au naturel next to a pool, as her lover, Paul (Matthias Schoenaerts), dozes nearby. They’re a delectable pair of sexy beasts, ensconced on a jaw-slackening compound on Pantelleria, a volcanic island in the strait of Sicily that’s within viewing distance of Tunisia. Marianne has recently had career-lengthening throat surgery, a procedure that’s rendered her near-speechless. With her preternatural stillness and sculptured hauteur, Ms. Swinton has always looked ready for her close-up with D. W. Griffith; few contemporary movie actresses can hold you with their gaze as effortlessly as she does. Marianne’s radio silence is a storytelling contrivance (for personal reasons, Ms. Swinton agreed to appear in the movie if she didn’t speak), but it adds to the character’s celebrity aura and deepens the sense of isolation conveyed by the location. And while Marianne whispers when she feels like it, her relative silence works both for Ms. Swinton — it draws you closer to her — and for Mr. Guadagnino, a voluptuary who revels in the surface beauty of the natural and unnatural worlds. Marianne and Paul’s private bliss-out is disrupted by the unexpected arrival of an old friend, a music producer, Harry (a sensational Ralph Fiennes), a motormouth who roars in with his daughter, Penelope (Dakota Johnson). She’s recently learned that Harry is her father and now, for reasons that thicken the mystery, he has dragged her to Pantelleria without a hotel reservation, which is how they end up crashing at Marianne and Paul’s hideaway. There, with icy and warm chatter flowing on rivers of booze, the characters circle one another as Mr. Guadagnino, working from David Kajganich’s script, fills in the background with wayward looks, wanton caresses and flashbacks. “A Bigger Splash” is based on Jacques Deray’s 1969 film “La Piscine” (“The Swimming Pool”), one of those idle-rich soaps in which trouble pulls up in a Maserati. A few years ago, the luxury-goods company Christian Dior recycled images of that film’s heartthrob attraction, Alain Delon, in an ad campaign for its cologne Eau Sauvage that used the Rolling Stones’ “Sympathy for the Devil.” The playlist for “A Bigger Splash” includes a couple of Stones songs as well, notably “Emotional Rescue,” which is in rotation with Harry Nilsson, Giuseppe Verdi, 1970s Brazilian classics and Hollywood’s eternal bad boy Robert Mitchum murdering the calypso ditty “Beauty Is Only Skin Deep.” Mr. Guadagnino, in other words, knows how to decorate a movie, from Marianne’s manicured head to Penelope’s perfectly photographed bellybutton. Every fetishized element — the glorious house, the tiled pool, Marianne’s Dior outfits and the scrubbiest of vistas — looks ravishing, ready for a close-up, too. The world that Mr. Guadagnino creates is at once seductive and aspirational, and another reminder that movies have always excelled at stoking consumer desires. Much like Nancy Meyers (“The Intern”), Mr. Guadagnino excels at creating lifestyle pornography of an especially rarefied kind, although in classic European style, he gilds the pleasure with some political guilt. Not too much, mind you, just enough to give the whole thing a patina of seriousness. Much like the faded hammer-and-sickle tattoo embellishing Harry’s oft-bared chest, the movie’s politics come across as self-consciously ornamental. At times, as with the topical references to refugees (a few of whom are seen huddled in detention), these glimpses of the larger, agonizing world are clearly meant to say something about the characters and their insularity. Mr. Guadagnino may be actually trying to assuage his conscience (or ours), as if to do penance for all this careless opulence. Yet these moments register as ritualistic at best, opportunistic at worst, and you wish he wouldn’t even bother. Consciously or not, Mr. Guadagnino makes a more convincing political case when he just lets his characters meander and do what they do best, which is living idly, fabulously. You could read an entire history of civilization and capitalism in how Marianne drapes her legs across a lounger or strides into a humble Italian home to sample some homemade ricotta. Ms. Swinton conveys casual entitlement like someone to the manner born, which gives Marianne’s teasing exchanges with Harry an increasingly discomfiting quality. Harry has come to the island for something he feverishly wants and believes he needs. He’s a man on a desperate mission, one that Mr. Fiennes, with a wildly flapping mouth and manic limbs, turns into a raw, indelible portrait of loss. “A Bigger Splash” is rated R (under 17 requires accompanying parent or adult guardian). Adults behaving like adults, only naughtier and far nastier. Running time: 2 hours 4 minutes.` for post `Jumanji (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

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[16:32:35] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `The cinema of seduction doesn’t get much more overheated than “A Bigger Splash,” an Italian come-on that doesn’t just want to amuse you, but also to pour you a Negroni before taking you for a midnight spin with the top down. Set on an Italian island slithering with snakes and beautiful people, the movie is something of a reluctant thriller about a rock star, her current lover, her former lover and a pretty young thing. Bad things happen, because, you know, life is pain — in the meantime, though, do enjoy the magnificent digs, the designer threads and the frolicking nude stars. The last time the director Luca Guadagnino trained his sights on Tilda Swinton, she was suffering under the Milanese sun in “I Am Love,” playing an unhappy wife fluttering in a gilded cage. This time, Ms. Swinton plays a rock star, Marianne Lane, who shortly after “A Bigger Splash” opens, is sunbathing au naturel next to a pool, as her lover, Paul (Matthias Schoenaerts), dozes nearby. They’re a delectable pair of sexy beasts, ensconced on a jaw-slackening compound on Pantelleria, a volcanic island in the strait of Sicily that’s within viewing distance of Tunisia. Marianne has recently had career-lengthening throat surgery, a procedure that’s rendered her near-speechless. With her preternatural stillness and sculptured hauteur, Ms. Swinton has always looked ready for her close-up with D. W. Griffith; few contemporary movie actresses can hold you with their gaze as effortlessly as she does. Marianne’s radio silence is a storytelling contrivance (for personal reasons, Ms. Swinton agreed to appear in the movie if she didn’t speak), but it adds to the character’s celebrity aura and deepens the sense of isolation conveyed by the location. And while Marianne whispers when she feels like it, her relative silence works both for Ms. Swinton — it draws you closer to her — and for Mr. Guadagnino, a voluptuary who revels in the surface beauty of the natural and unnatural worlds. Marianne and Paul’s private bliss-out is disrupted by the unexpected arrival of an old friend, a music producer, Harry (a sensational Ralph Fiennes), a motormouth who roars in with his daughter, Penelope (Dakota Johnson). She’s recently learned that Harry is her father and now, for reasons that thicken the mystery, he has dragged her to Pantelleria without a hotel reservation, which is how they end up crashing at Marianne and Paul’s hideaway. There, with icy and warm chatter flowing on rivers of booze, the characters circle one another as Mr. Guadagnino, working from David Kajganich’s script, fills in the background with wayward looks, wanton caresses and flashbacks. “A Bigger Splash” is based on Jacques Deray’s 1969 film “La Piscine” (“The Swimming Pool”), one of those idle-rich soaps in which trouble pulls up in a Maserati. A few years ago, the luxury-goods company Christian Dior recycled images of that film’s heartthrob attraction, Alain Delon, in an ad campaign for its cologne Eau Sauvage that used the Rolling Stones’ “Sympathy for the Devil.” The playlist for “A Bigger Splash” includes a couple of Stones songs as well, notably “Emotional Rescue,” which is in rotation with Harry Nilsson, Giuseppe Verdi, 1970s Brazilian classics and Hollywood’s eternal bad boy Robert Mitchum murdering the calypso ditty “Beauty Is Only Skin Deep.” Mr. Guadagnino, in other words, knows how to decorate a movie, from Marianne’s manicured head to Penelope’s perfectly photographed bellybutton. Every fetishized element — the glorious house, the tiled pool, Marianne’s Dior outfits and the scrubbiest of vistas — looks ravishing, ready for a close-up, too. The world that Mr. Guadagnino creates is at once seductive and aspirational, and another reminder that movies have always excelled at stoking consumer desires. Much like Nancy Meyers (“The Intern”), Mr. Guadagnino excels at creating lifestyle pornography of an especially rarefied kind, although in classic European style, he gilds the pleasure with some political guilt. Not too much, mind you, just enough to give the whole thing a patina of seriousness. Much like the faded hammer-and-sickle tattoo embellishing Harry’s oft-bared chest, the movie’s politics come across as self-consciously ornamental. At times, as with the topical references to refugees (a few of whom are seen huddled in detention), these glimpses of the larger, agonizing world are clearly meant to say something about the characters and their insularity. Mr. Guadagnino may be actually trying to assuage his conscience (or ours), as if to do penance for all this careless opulence. Yet these moments register as ritualistic at best, opportunistic at worst, and you wish he wouldn’t even bother. Consciously or not, Mr. Guadagnino makes a more convincing political case when he just lets his characters meander and do what they do best, which is living idly, fabulously. You could read an entire history of civilization and capitalism in how Marianne drapes her legs across a lounger or strides into a humble Italian home to sample some homemade ricotta. Ms. Swinton conveys casual entitlement like someone to the manner born, which gives Marianne’s teasing exchanges with Harry an increasingly discomfiting quality. Harry has come to the island for something he feverishly wants and believes he needs. He’s a man on a desperate mission, one that Mr. Fiennes, with a wildly flapping mouth and manic limbs, turns into a raw, indelible portrait of loss. “A Bigger Splash” is rated R (under 17 requires accompanying parent or adult guardian). Adults behaving like adults, only naughtier and far nastier. Running time: 2 hours 4 minutes.` for post `Jumanji (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Jumanji (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `document_synopsis` will be updated with value `` for post `Jumanji (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Jumanji (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Jumanji (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] IMAGES:

[16:32:35] TAXONOMIES:

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[16:32:35] ACTION: pmxi_after_post_import

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[16:32:35] Record #4

[16:32:35] ACTION: pmxi_before_post_import ...

[16:32:35] Combine all data for post `Grumpier Old Men (1995)`...

[16:32:35] Find corresponding article among previously imported for post `Grumpier Old Men (1995)`...

[16:32:35] Duplicate post wasn't found with unique key `1696`...

[16:32:35] Applying filter `pmxi_article_data` for `Grumpier Old Men (1995)`

[16:32:35] CREATING `Grumpier Old Men (1995)` `Resource`

[16:32:35] Associate post `Grumpier Old Men (1995)` with current import ...

[16:32:35] CUSTOM FIELDS:

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `include_video` will be updated with value `1` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

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[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `It takes an actor with the finesse of Tom Hanks to turn a story of confusion, perplexity, frustration and panic into an agreeably uncomfortable comedy. But that’s what Mr. Hanks accomplishes in the German filmmaker Tom Tykwer’s easygoing screen adaptation of Dave Eggers’s novel “A Hologram for the King.” This fanciful tale about Alan Clay, an American consultant visiting Saudi Arabia to sell a holographic teleconferencing system to the Saudi government, has been transformed through the force of Mr. Hanks’s nice-guy personality. His performance elevates an ominous, downbeat reflection on American decline and runaway technology into a subdued absurdist farce with dark geopolitical undercurrents. The movie is set in 2010, when America was still reeling from the financial crisis and months before the beginning of the Arab Spring uprisings that eventually transformed much of the Middle East into a grisly battleground. In the surreal opening scene, Alan walks down a suburban street, loudly singing the Talking Heads song “Once in a Lifetime,” whose narrator asks you to imagine losing your house and your wife. All at once, we have landed in Jeddah, Saudi Arabia, in a topsy-turvy world of technological disruption and hierarchal imbalance. Alan is in a wretched state when he arrives. Broke, depressed, newly divorced and desperate to regain his financial footing, he is acutely aware that his entire future depends on the successful completion of a deal involving the sale of a miraculous invention that suggests the modern equivalent of Aladdin’s magic lamp. Later in the movie, we see a brief, underwhelming demonstration of its wonders. From the moment Alan lands, he encounters humiliating obstacles. The king, he is told, is away but is expected back very soon. But the days drag on, and the lives of Alan and the three-person I.T. support team that preceded him become a Beckettian waiting game. Instead of a modern hotel, Alan finds his assistants languishing in a sweltering tent without air-conditioning or Wi-Fi in the King’s Metropolis of Economy and Trade, a fictionalized version of King Abdullah Economic City. This metropolis, still under construction, consists of mostly empty skyscrapers. The scenes in which he wanders through this desolate ghost city, which seems in a state of suspension, are among the film’s strongest. Jet-lagged and sleep-deprived, Alan tries in vain to find his bearings, while obsessing about a strange lump on his back that he unsuccessfully tries to remove. His tentative surgery on himself leads him to consult Zahra Hakem (Sarita Choudhury, from “Homeland”), a Saudi doctor with whom he develops an unlikely romantic connection. A screen adaptation of “A Hologram for the King” could have taken any of several approaches. It could have been a satire of American provincialism and culture clash in a tech-dependent world, with Alan portrayed as a bumbling, overconfident fool living in the past. But Mr. Hanks’s embodiment of an unflappably positive, if frustrated, American Everyman, who refuses to give up or to surrender his can-do attitude, grounds the movie. Somehow, you suspect, his situation will be resolved by good old-fashioned American know-how. Alan becomes infuriated but never enraged. Confronting disaster, he grits his teeth and puts on an optimistic face. Mr. Hanks, in his best clownish mode, scrunches his features into all manner of amusing grimaces. But even when Alan is on the brink of nervous exhaustion, you trust him to find the answers. The movie’s weaker scenes try to fill in his background and family history with flashbacks, in which we meet his ex-wife and daughter, whose college tuition he can’t afford. His father (Tom Skerritt) bitterly deplores the outsourcing of American jobs to other countries. As a former executive for the Schwinn Bicycle Company, Alan, we learn, once shipped jobs abroad. Much of “A Hologram for the King” feels like science fiction. We’re familiar with pictures of the futuristic towers of Dubai, flickering in the heat. But this partly constructed ghost town in the middle of a desert suggests an outpost in a different galaxy, where Alan and his team resemble a befuddled, less confident Captain Kirk and his crew waiting for the aliens to reveal themselves. Alan’s guide on this faraway planet is Yousef (Alexander Black), a goofy, oddly paranoid taxi driver who is obsessed with loud American rock music. Their scenes come the closest to traditional comedy. “A Hologram for the King” ponders a modern world in the thrall of illusions. Of what essential use is a holographic teleconferencing system, we are never told. In their semireality, the King’s Metropolis of Economy and Trade and the ghostly holograms Alan is selling might just as well be a desert mirage. “A Hologram for the King” is rated R (Under 17 requires accompanying parent or adult guardian) for some sexuality and nudity, strong language and brief drug use. Running time: 1 hour 37 minutes.` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_url` will be updated with value `https://vimeo.com/72240` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `include_document` will be updated with value `1` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_synposis` will be updated with value `It takes an actor with the finesse of Tom Hanks to turn a story of confusion, perplexity, frustration and panic into an agreeably uncomfortable comedy. But that’s what Mr. Hanks accomplishes in the German filmmaker Tom Tykwer’s easygoing screen adaptation of Dave Eggers’s novel “A Hologram for the King.” This fanciful tale about Alan Clay, an American consultant visiting Saudi Arabia to sell a holographic teleconferencing system to the Saudi government, has been transformed through the force of Mr. Hanks’s nice-guy personality. His performance elevates an ominous, downbeat reflection on American decline and runaway technology into a subdued absurdist farce with dark geopolitical undercurrents. The movie is set in 2010, when America was still reeling from the financial crisis and months before the beginning of the Arab Spring uprisings that eventually transformed much of the Middle East into a grisly battleground. In the surreal opening scene, Alan walks down a suburban street, loudly singing the Talking Heads song “Once in a Lifetime,” whose narrator asks you to imagine losing your house and your wife. All at once, we have landed in Jeddah, Saudi Arabia, in a topsy-turvy world of technological disruption and hierarchal imbalance. Alan is in a wretched state when he arrives. Broke, depressed, newly divorced and desperate to regain his financial footing, he is acutely aware that his entire future depends on the successful completion of a deal involving the sale of a miraculous invention that suggests the modern equivalent of Aladdin’s magic lamp. Later in the movie, we see a brief, underwhelming demonstration of its wonders. From the moment Alan lands, he encounters humiliating obstacles. The king, he is told, is away but is expected back very soon. But the days drag on, and the lives of Alan and the three-person I.T. support team that preceded him become a Beckettian waiting game. Instead of a modern hotel, Alan finds his assistants languishing in a sweltering tent without air-conditioning or Wi-Fi in the King’s Metropolis of Economy and Trade, a fictionalized version of King Abdullah Economic City. This metropolis, still under construction, consists of mostly empty skyscrapers. The scenes in which he wanders through this desolate ghost city, which seems in a state of suspension, are among the film’s strongest. Jet-lagged and sleep-deprived, Alan tries in vain to find his bearings, while obsessing about a strange lump on his back that he unsuccessfully tries to remove. His tentative surgery on himself leads him to consult Zahra Hakem (Sarita Choudhury, from “Homeland”), a Saudi doctor with whom he develops an unlikely romantic connection. A screen adaptation of “A Hologram for the King” could have taken any of several approaches. It could have been a satire of American provincialism and culture clash in a tech-dependent world, with Alan portrayed as a bumbling, overconfident fool living in the past. But Mr. Hanks’s embodiment of an unflappably positive, if frustrated, American Everyman, who refuses to give up or to surrender his can-do attitude, grounds the movie. Somehow, you suspect, his situation will be resolved by good old-fashioned American know-how. Alan becomes infuriated but never enraged. Confronting disaster, he grits his teeth and puts on an optimistic face. Mr. Hanks, in his best clownish mode, scrunches his features into all manner of amusing grimaces. But even when Alan is on the brink of nervous exhaustion, you trust him to find the answers. The movie’s weaker scenes try to fill in his background and family history with flashbacks, in which we meet his ex-wife and daughter, whose college tuition he can’t afford. His father (Tom Skerritt) bitterly deplores the outsourcing of American jobs to other countries. As a former executive for the Schwinn Bicycle Company, Alan, we learn, once shipped jobs abroad. Much of “A Hologram for the King” feels like science fiction. We’re familiar with pictures of the futuristic towers of Dubai, flickering in the heat. But this partly constructed ghost town in the middle of a desert suggests an outpost in a different galaxy, where Alan and his team resemble a befuddled, less confident Captain Kirk and his crew waiting for the aliens to reveal themselves. Alan’s guide on this faraway planet is Yousef (Alexander Black), a goofy, oddly paranoid taxi driver who is obsessed with loud American rock music. Their scenes come the closest to traditional comedy. “A Hologram for the King” ponders a modern world in the thrall of illusions. Of what essential use is a holographic teleconferencing system, we are never told. In their semireality, the King’s Metropolis of Economy and Trade and the ghostly holograms Alan is selling might just as well be a desert mirage. “A Hologram for the King” is rated R (Under 17 requires accompanying parent or adult guardian) for some sexuality and nudity, strong language and brief drug use. Running time: 1 hour 37 minutes.` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `It takes an actor with the finesse of Tom Hanks to turn a story of confusion, perplexity, frustration and panic into an agreeably uncomfortable comedy. But that’s what Mr. Hanks accomplishes in the German filmmaker Tom Tykwer’s easygoing screen adaptation of Dave Eggers’s novel “A Hologram for the King.” This fanciful tale about Alan Clay, an American consultant visiting Saudi Arabia to sell a holographic teleconferencing system to the Saudi government, has been transformed through the force of Mr. Hanks’s nice-guy personality. His performance elevates an ominous, downbeat reflection on American decline and runaway technology into a subdued absurdist farce with dark geopolitical undercurrents. The movie is set in 2010, when America was still reeling from the financial crisis and months before the beginning of the Arab Spring uprisings that eventually transformed much of the Middle East into a grisly battleground. In the surreal opening scene, Alan walks down a suburban street, loudly singing the Talking Heads song “Once in a Lifetime,” whose narrator asks you to imagine losing your house and your wife. All at once, we have landed in Jeddah, Saudi Arabia, in a topsy-turvy world of technological disruption and hierarchal imbalance. Alan is in a wretched state when he arrives. Broke, depressed, newly divorced and desperate to regain his financial footing, he is acutely aware that his entire future depends on the successful completion of a deal involving the sale of a miraculous invention that suggests the modern equivalent of Aladdin’s magic lamp. Later in the movie, we see a brief, underwhelming demonstration of its wonders. From the moment Alan lands, he encounters humiliating obstacles. The king, he is told, is away but is expected back very soon. But the days drag on, and the lives of Alan and the three-person I.T. support team that preceded him become a Beckettian waiting game. Instead of a modern hotel, Alan finds his assistants languishing in a sweltering tent without air-conditioning or Wi-Fi in the King’s Metropolis of Economy and Trade, a fictionalized version of King Abdullah Economic City. This metropolis, still under construction, consists of mostly empty skyscrapers. The scenes in which he wanders through this desolate ghost city, which seems in a state of suspension, are among the film’s strongest. Jet-lagged and sleep-deprived, Alan tries in vain to find his bearings, while obsessing about a strange lump on his back that he unsuccessfully tries to remove. His tentative surgery on himself leads him to consult Zahra Hakem (Sarita Choudhury, from “Homeland”), a Saudi doctor with whom he develops an unlikely romantic connection. A screen adaptation of “A Hologram for the King” could have taken any of several approaches. It could have been a satire of American provincialism and culture clash in a tech-dependent world, with Alan portrayed as a bumbling, overconfident fool living in the past. But Mr. Hanks’s embodiment of an unflappably positive, if frustrated, American Everyman, who refuses to give up or to surrender his can-do attitude, grounds the movie. Somehow, you suspect, his situation will be resolved by good old-fashioned American know-how. Alan becomes infuriated but never enraged. Confronting disaster, he grits his teeth and puts on an optimistic face. Mr. Hanks, in his best clownish mode, scrunches his features into all manner of amusing grimaces. But even when Alan is on the brink of nervous exhaustion, you trust him to find the answers. The movie’s weaker scenes try to fill in his background and family history with flashbacks, in which we meet his ex-wife and daughter, whose college tuition he can’t afford. His father (Tom Skerritt) bitterly deplores the outsourcing of American jobs to other countries. As a former executive for the Schwinn Bicycle Company, Alan, we learn, once shipped jobs abroad. Much of “A Hologram for the King” feels like science fiction. We’re familiar with pictures of the futuristic towers of Dubai, flickering in the heat. But this partly constructed ghost town in the middle of a desert suggests an outpost in a different galaxy, where Alan and his team resemble a befuddled, less confident Captain Kirk and his crew waiting for the aliens to reveal themselves. Alan’s guide on this faraway planet is Yousef (Alexander Black), a goofy, oddly paranoid taxi driver who is obsessed with loud American rock music. Their scenes come the closest to traditional comedy. “A Hologram for the King” ponders a modern world in the thrall of illusions. Of what essential use is a holographic teleconferencing system, we are never told. In their semireality, the King’s Metropolis of Economy and Trade and the ghostly holograms Alan is selling might just as well be a desert mirage. “A Hologram for the King” is rated R (Under 17 requires accompanying parent or adult guardian) for some sexuality and nudity, strong language and brief drug use. Running time: 1 hour 37 minutes.` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `document_synopsis` will be updated with value `` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Grumpier Old Men (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

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[16:32:35] TAXONOMIES:

[16:32:35] - Importing taxonomy `resource_category` ...

[16:32:35] - Attempted to create parent Resource resource_category `Biblical`, duplicate detected. Importing Resource to existing `Biblical` resource_category, ID 667, slug `biblical` ...

[16:32:35] - Attempted to create parent Resource resource_category `Judges`, duplicate detected. Importing Resource to existing `Judges` resource_category, ID 677, slug `judges` ...

[16:32:35] - Attempted to create parent Resource resource_category `Timothy`, duplicate detected. Importing Resource to existing `Timothy` resource_category, ID 678, slug `timothy` ...

[16:32:35] - Importing taxonomy `video_contributor` ...

[16:32:35] - Importing taxonomy `document_contributor` ...

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[16:32:35] ACTION: pmxi_saved_post

[16:32:35] ACTION: pmxi_after_post_import

[16:32:35] ---

[16:32:35] Record #5

[16:32:35] ACTION: pmxi_before_post_import ...

[16:32:35] Combine all data for post `Waiting to Exhale (1995)`...

[16:32:35] Find corresponding article among previously imported for post `Waiting to Exhale (1995)`...

[16:32:35] Duplicate post wasn't found with unique key `1697`...

[16:32:35] Applying filter `pmxi_article_data` for `Waiting to Exhale (1995)`

[16:32:35] CREATING `Waiting to Exhale (1995)` `Resource`

[16:32:35] Associate post `Waiting to Exhale (1995)` with current import ...

[16:32:35] CUSTOM FIELDS:

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `include_video` will be updated with value `1` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `The trailer for “Baaghi” has a body-count ticker — a winking boast about the movie’s martial spirit — that tops out at 114. And though I didn’t tally ’em up, it’s true that body after expendable body is thwacked, pummeled and left for dead in “Baaghi,” as our hero, Ronny, fights his way to … well, to what exactly? Early in “Baaghi,” a Bollywood action movie with the usual grab bag of romance, comedy and drama, Ronny (Tiger Shroff, son of the ’80s star Jackie Shroff) shows up at a martial arts academy in Kerala. On the train ride there he finds a girl, Sia (Shraddha Kapoor), and at the academy he finds a guru. Ronny, we’re told in words and song, is a rebel, though really he’s just young, cocky and clueless, a sweet-faced muscle boy. Almost accidentally (the guru has stealth methods), Ronny grows into a disciplined fighter. For no particular reason, we’re still meant to consider him a rebel and, to up the ante, a modern-day Rama, hero of the Indian epic “The Ramayana.” After making clear this link to “The Ramayana” about midway through the movie, the filmmakers Sabbir Khan (director) and Sanjeev Dutta (writer) proceed to draw it out: Sia is Sita (Rama’s wife), and she’s kidnapped not once but twice — to be kidnapped once is misfortune; twice looks like carelessness (in this case, the writer’s) — by the demonic Raghav, who brings her to Bangkok, where a blind taxi driver tells us that he’s the story’s Hanuman, the trickster monkey god. But because the filmmakers have given their characters labels (rebel, guru, villain) instead of personalities, the movie’s bid for epic resonance feels particularly hollow. Ronny may just be some guy with a grudge (and flying fists and feet), but surely Rama is something more. At least Ronny has a gimmick; Sia/Sita is a blank, the love interest, full stop. Her outstanding feature is that she likes rain. Mostly “Baaghi” is a fight movie, and a slightly dull one at that, overstuffed with boom-boom set pieces. (Its action sequences have been accused of resembling too closely the Indonesian movie “The Raid: Redemption.”) And while Mr. Shroff moves well — he bounces balletically off walls to deliver knockout kicks and dances with loose-hipped grace — he never makes you care about the rebel Ronny who would be king. “Baaghi” is not rated. It is in Hindi, with English subtitles. Running time: 2 hours 30 minutes.` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_url` will be updated with value `https://vimeo.com/77426` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `include_document` will be updated with value `1` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_synposis` will be updated with value `The trailer for “Baaghi” has a body-count ticker — a winking boast about the movie’s martial spirit — that tops out at 114. And though I didn’t tally ’em up, it’s true that body after expendable body is thwacked, pummeled and left for dead in “Baaghi,” as our hero, Ronny, fights his way to … well, to what exactly? Early in “Baaghi,” a Bollywood action movie with the usual grab bag of romance, comedy and drama, Ronny (Tiger Shroff, son of the ’80s star Jackie Shroff) shows up at a martial arts academy in Kerala. On the train ride there he finds a girl, Sia (Shraddha Kapoor), and at the academy he finds a guru. Ronny, we’re told in words and song, is a rebel, though really he’s just young, cocky and clueless, a sweet-faced muscle boy. Almost accidentally (the guru has stealth methods), Ronny grows into a disciplined fighter. For no particular reason, we’re still meant to consider him a rebel and, to up the ante, a modern-day Rama, hero of the Indian epic “The Ramayana.” After making clear this link to “The Ramayana” about midway through the movie, the filmmakers Sabbir Khan (director) and Sanjeev Dutta (writer) proceed to draw it out: Sia is Sita (Rama’s wife), and she’s kidnapped not once but twice — to be kidnapped once is misfortune; twice looks like carelessness (in this case, the writer’s) — by the demonic Raghav, who brings her to Bangkok, where a blind taxi driver tells us that he’s the story’s Hanuman, the trickster monkey god. But because the filmmakers have given their characters labels (rebel, guru, villain) instead of personalities, the movie’s bid for epic resonance feels particularly hollow. Ronny may just be some guy with a grudge (and flying fists and feet), but surely Rama is something more. At least Ronny has a gimmick; Sia/Sita is a blank, the love interest, full stop. Her outstanding feature is that she likes rain. Mostly “Baaghi” is a fight movie, and a slightly dull one at that, overstuffed with boom-boom set pieces. (Its action sequences have been accused of resembling too closely the Indonesian movie “The Raid: Redemption.”) And while Mr. Shroff moves well — he bounces balletically off walls to deliver knockout kicks and dances with loose-hipped grace — he never makes you care about the rebel Ronny who would be king. “Baaghi” is not rated. It is in Hindi, with English subtitles. Running time: 2 hours 30 minutes.` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `The trailer for “Baaghi” has a body-count ticker — a winking boast about the movie’s martial spirit — that tops out at 114. And though I didn’t tally ’em up, it’s true that body after expendable body is thwacked, pummeled and left for dead in “Baaghi,” as our hero, Ronny, fights his way to … well, to what exactly? Early in “Baaghi,” a Bollywood action movie with the usual grab bag of romance, comedy and drama, Ronny (Tiger Shroff, son of the ’80s star Jackie Shroff) shows up at a martial arts academy in Kerala. On the train ride there he finds a girl, Sia (Shraddha Kapoor), and at the academy he finds a guru. Ronny, we’re told in words and song, is a rebel, though really he’s just young, cocky and clueless, a sweet-faced muscle boy. Almost accidentally (the guru has stealth methods), Ronny grows into a disciplined fighter. For no particular reason, we’re still meant to consider him a rebel and, to up the ante, a modern-day Rama, hero of the Indian epic “The Ramayana.” After making clear this link to “The Ramayana” about midway through the movie, the filmmakers Sabbir Khan (director) and Sanjeev Dutta (writer) proceed to draw it out: Sia is Sita (Rama’s wife), and she’s kidnapped not once but twice — to be kidnapped once is misfortune; twice looks like carelessness (in this case, the writer’s) — by the demonic Raghav, who brings her to Bangkok, where a blind taxi driver tells us that he’s the story’s Hanuman, the trickster monkey god. But because the filmmakers have given their characters labels (rebel, guru, villain) instead of personalities, the movie’s bid for epic resonance feels particularly hollow. Ronny may just be some guy with a grudge (and flying fists and feet), but surely Rama is something more. At least Ronny has a gimmick; Sia/Sita is a blank, the love interest, full stop. Her outstanding feature is that she likes rain. Mostly “Baaghi” is a fight movie, and a slightly dull one at that, overstuffed with boom-boom set pieces. (Its action sequences have been accused of resembling too closely the Indonesian movie “The Raid: Redemption.”) And while Mr. Shroff moves well — he bounces balletically off walls to deliver knockout kicks and dances with loose-hipped grace — he never makes you care about the rebel Ronny who would be king. “Baaghi” is not rated. It is in Hindi, with English subtitles. Running time: 2 hours 30 minutes.` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `document_synopsis` will be updated with value `` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Waiting to Exhale (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] IMAGES:

[16:32:35] TAXONOMIES:

[16:32:35] - Importing taxonomy `resource_category` ...

[16:32:35] - Attempted to create parent Resource resource_category `History`, duplicate detected. Importing Resource to existing `History` resource_category, ID 679, slug `history` ...

[16:32:35] - Attempted to create parent Resource resource_category `Modernity`, duplicate detected. Importing Resource to existing `Modernity` resource_category, ID 681, slug `modernity` ...

[16:32:35] - Attempted to create parent Resource resource_category `Old testament`, duplicate detected. Importing Resource to existing `Old testament` resource_category, ID 670, slug `old-testament` ...

[16:32:35] - Attempted to create parent Resource resource_category `Revelation`, duplicate detected. Importing Resource to existing `Revelation` resource_category, ID 669, slug `revelation` ...

[16:32:35] - Importing taxonomy `video_contributor` ...

[16:32:35] - Importing taxonomy `document_contributor` ...

[16:32:35] CREATED `Waiting to Exhale (1995)` `Resource` (ID: 2332)

[16:32:35] ACTION: pmxi_saved_post

[16:32:35] ACTION: pmxi_after_post_import

[16:32:35] ---

[16:32:35] Record #6

[16:32:35] ACTION: pmxi_before_post_import ...

[16:32:35] Combine all data for post `Father of the Bride Part II (1995)`...

[16:32:35] Find corresponding article among previously imported for post `Father of the Bride Part II (1995)`...

[16:32:35] Duplicate post wasn't found with unique key `1698`...

[16:32:35] Applying filter `pmxi_article_data` for `Father of the Bride Part II (1995)`

[16:32:35] CREATING `Father of the Bride Part II (1995)` `Resource`

[16:32:35] Associate post `Father of the Bride Part II (1995)` with current import ...

[16:32:35] CUSTOM FIELDS:

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `include_video` will be updated with value `1` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `The streets of Philadelphia are a romantic hunting ground for the four main characters in “Beautiful Something,” Joseph Graham’s bleak, agonized study of gay men looking for connection. Brian (Brian Sheppard) is a poet seeking more than a quick hookup. The infuriatingly bratty Jim (Zack Ryan), an aspiring actor, is the live-in boyfriend of Drew (Colman Domingo), an older world-famous metal sculptor who adores him. But Jim is so jealous of Drew’s devotion to art that he feels neglected and threatens to move out. Bob (John Lescault) is a rich, sleazy Hollywood talent agent in his mid-60s who cruises around in a white limousine looking to pay for sex. Why he’s in Philadelphia, of all cities, is never explained. The gay street scene depicted in the movie feels more like the 1970s than now, and the film’s dominant mood is one of feverish desperation and hunger. Lessons are learned, but the movie is in dire need of character development and a wider social context.` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_url` will be updated with value `https://vimeo.com/78590` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `include_document` will be updated with value `1` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_synposis` will be updated with value `The streets of Philadelphia are a romantic hunting ground for the four main characters in “Beautiful Something,” Joseph Graham’s bleak, agonized study of gay men looking for connection. Brian (Brian Sheppard) is a poet seeking more than a quick hookup. The infuriatingly bratty Jim (Zack Ryan), an aspiring actor, is the live-in boyfriend of Drew (Colman Domingo), an older world-famous metal sculptor who adores him. But Jim is so jealous of Drew’s devotion to art that he feels neglected and threatens to move out. Bob (John Lescault) is a rich, sleazy Hollywood talent agent in his mid-60s who cruises around in a white limousine looking to pay for sex. Why he’s in Philadelphia, of all cities, is never explained. The gay street scene depicted in the movie feels more like the 1970s than now, and the film’s dominant mood is one of feverish desperation and hunger. Lessons are learned, but the movie is in dire need of character development and a wider social context.` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `The streets of Philadelphia are a romantic hunting ground for the four main characters in “Beautiful Something,” Joseph Graham’s bleak, agonized study of gay men looking for connection. Brian (Brian Sheppard) is a poet seeking more than a quick hookup. The infuriatingly bratty Jim (Zack Ryan), an aspiring actor, is the live-in boyfriend of Drew (Colman Domingo), an older world-famous metal sculptor who adores him. But Jim is so jealous of Drew’s devotion to art that he feels neglected and threatens to move out. Bob (John Lescault) is a rich, sleazy Hollywood talent agent in his mid-60s who cruises around in a white limousine looking to pay for sex. Why he’s in Philadelphia, of all cities, is never explained. The gay street scene depicted in the movie feels more like the 1970s than now, and the film’s dominant mood is one of feverish desperation and hunger. Lessons are learned, but the movie is in dire need of character development and a wider social context.` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `document_synopsis` will be updated with value `` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Father of the Bride Part II (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] IMAGES:

[16:32:35] TAXONOMIES:

[16:32:35] - Importing taxonomy `resource_category` ...

[16:32:35] - Attempted to create parent Resource resource_category `Biblical`, duplicate detected. Importing Resource to existing `Biblical` resource_category, ID 667, slug `biblical` ...

[16:32:35] - Attempted to create parent Resource resource_category `Revelation`, duplicate detected. Importing Resource to existing `Revelation` resource_category, ID 669, slug `revelation` ...

[16:32:35] - Importing taxonomy `video_contributor` ...

[16:32:35] - Importing taxonomy `document_contributor` ...

[16:32:35] CREATED `Father of the Bride Part II (1995)` `Resource` (ID: 2333)

[16:32:35] ACTION: pmxi_saved_post

[16:32:35] ACTION: pmxi_after_post_import

[16:32:35] ---

[16:32:35] Record #7

[16:32:35] ACTION: pmxi_before_post_import ...

[16:32:35] Combine all data for post `Heat (1995)`...

[16:32:35] Find corresponding article among previously imported for post `Heat (1995)`...

[16:32:35] Duplicate post wasn't found with unique key `1699`...

[16:32:35] Applying filter `pmxi_article_data` for `Heat (1995)`

[16:32:35] CREATING `Heat (1995)` `Resource`

[16:32:35] Associate post `Heat (1995)` with current import ...

[16:32:35] CUSTOM FIELDS:

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `include_video` will be updated with value `1` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `In “Being Charlie,” the director Rob Reiner breaks out of his sentimental sitcom mode to focus on the angst of a rich, entitled Los Angeles family. The title character, Charlie Mills (Nick Robinson), is its spoiled golden boy, a surly drug-addicted brat we first meet on his 18th birthday as he abandons the latest in a series of rehab institutions. This sour apple hasn’t fallen far from the tree. Charlie’s father, David (Cary Elwes), is a stunningly fatuous candidate for California governor who made his fortune as the star of a blockbuster Hollywood franchise about pirates. With his slicked blond hair and cold, arrogant sneer, this politician-come-lately is an empty suit robotically shaking hands while spewing inane platitudes at meet-and-greets. He has a fractious relationship with his tense, neurotic wife, Liseanne (Susan Misner). “Being Charlie” has a strong autobiographical component. According to the production notes, Nick Reiner (the director’s son) wrote the screenplay with Matt Elisofon, whom he met in rehab. Charlie, like Mr. Elisofon, is an aspiring stand-up comedian. And the brief scenes of Charlie on the stage reveal him to be a brash show-off with at least a modicum of talent. Let’s assume that Rob Reiner made a movie peopled with disagreeable characters to transcend the feel-good clichés of the nostalgic family entertainments for which he’s known with a more realistic film about contemporary issues. But the movie’s refusal to abandon commercial formulas and examine its characters’ inner lives suggests that the director’s years inside the Hollywood bubble may have prevented him from recognizing the degree to which independent films and television are already overrun with deeper, more sensitive explorations of addiction and recovery. When Charlie inevitably relapses and trolls Los Angeles’s meaner streets for a fix, you feel little sympathy for a character so shallow he seems incapable of introspection. Father-son confrontations and tough-love warnings from a rehab counselor (played by Common) are little more than boilerplate harangues. The movie’s first of many mistakes is to throw in a girlfriend from rehab, Eva (Morgan Saylor), with whom Charlie flouts rules that discourage romantic relationships among patients. Although Ms. Saylor brings some personality to her turbulent, unfocused character, you have the queasy sense that somebody decided the movie needed a pretty woman to give it some juice. But soon enough, “Being Charlie” forgets about Eva to concentrate on Charlie’s gruesome relapse on the eve of the governor’s election, and David’s having to cope with the negative publicity about his son’s behavior. It takes a drug-related tragedy to bring Charlie to his senses. The perfunctory upbeat ending leaves you unconvinced that worst is over. “Being Charlie” is not rated. Running time: 1 hour 37 minutes.` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_url` will be updated with value `https://vimeo.com/channels/staffpicks/82476` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `include_document` will be updated with value `1` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_synposis` will be updated with value `In “Being Charlie,” the director Rob Reiner breaks out of his sentimental sitcom mode to focus on the angst of a rich, entitled Los Angeles family. The title character, Charlie Mills (Nick Robinson), is its spoiled golden boy, a surly drug-addicted brat we first meet on his 18th birthday as he abandons the latest in a series of rehab institutions. This sour apple hasn’t fallen far from the tree. Charlie’s father, David (Cary Elwes), is a stunningly fatuous candidate for California governor who made his fortune as the star of a blockbuster Hollywood franchise about pirates. With his slicked blond hair and cold, arrogant sneer, this politician-come-lately is an empty suit robotically shaking hands while spewing inane platitudes at meet-and-greets. He has a fractious relationship with his tense, neurotic wife, Liseanne (Susan Misner). “Being Charlie” has a strong autobiographical component. According to the production notes, Nick Reiner (the director’s son) wrote the screenplay with Matt Elisofon, whom he met in rehab. Charlie, like Mr. Elisofon, is an aspiring stand-up comedian. And the brief scenes of Charlie on the stage reveal him to be a brash show-off with at least a modicum of talent. Let’s assume that Rob Reiner made a movie peopled with disagreeable characters to transcend the feel-good clichés of the nostalgic family entertainments for which he’s known with a more realistic film about contemporary issues. But the movie’s refusal to abandon commercial formulas and examine its characters’ inner lives suggests that the director’s years inside the Hollywood bubble may have prevented him from recognizing the degree to which independent films and television are already overrun with deeper, more sensitive explorations of addiction and recovery. When Charlie inevitably relapses and trolls Los Angeles’s meaner streets for a fix, you feel little sympathy for a character so shallow he seems incapable of introspection. Father-son confrontations and tough-love warnings from a rehab counselor (played by Common) are little more than boilerplate harangues. The movie’s first of many mistakes is to throw in a girlfriend from rehab, Eva (Morgan Saylor), with whom Charlie flouts rules that discourage romantic relationships among patients. Although Ms. Saylor brings some personality to her turbulent, unfocused character, you have the queasy sense that somebody decided the movie needed a pretty woman to give it some juice. But soon enough, “Being Charlie” forgets about Eva to concentrate on Charlie’s gruesome relapse on the eve of the governor’s election, and David’s having to cope with the negative publicity about his son’s behavior. It takes a drug-related tragedy to bring Charlie to his senses. The perfunctory upbeat ending leaves you unconvinced that worst is over. “Being Charlie” is not rated. Running time: 1 hour 37 minutes.` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `In “Being Charlie,” the director Rob Reiner breaks out of his sentimental sitcom mode to focus on the angst of a rich, entitled Los Angeles family. The title character, Charlie Mills (Nick Robinson), is its spoiled golden boy, a surly drug-addicted brat we first meet on his 18th birthday as he abandons the latest in a series of rehab institutions. This sour apple hasn’t fallen far from the tree. Charlie’s father, David (Cary Elwes), is a stunningly fatuous candidate for California governor who made his fortune as the star of a blockbuster Hollywood franchise about pirates. With his slicked blond hair and cold, arrogant sneer, this politician-come-lately is an empty suit robotically shaking hands while spewing inane platitudes at meet-and-greets. He has a fractious relationship with his tense, neurotic wife, Liseanne (Susan Misner). “Being Charlie” has a strong autobiographical component. According to the production notes, Nick Reiner (the director’s son) wrote the screenplay with Matt Elisofon, whom he met in rehab. Charlie, like Mr. Elisofon, is an aspiring stand-up comedian. And the brief scenes of Charlie on the stage reveal him to be a brash show-off with at least a modicum of talent. Let’s assume that Rob Reiner made a movie peopled with disagreeable characters to transcend the feel-good clichés of the nostalgic family entertainments for which he’s known with a more realistic film about contemporary issues. But the movie’s refusal to abandon commercial formulas and examine its characters’ inner lives suggests that the director’s years inside the Hollywood bubble may have prevented him from recognizing the degree to which independent films and television are already overrun with deeper, more sensitive explorations of addiction and recovery. When Charlie inevitably relapses and trolls Los Angeles’s meaner streets for a fix, you feel little sympathy for a character so shallow he seems incapable of introspection. Father-son confrontations and tough-love warnings from a rehab counselor (played by Common) are little more than boilerplate harangues. The movie’s first of many mistakes is to throw in a girlfriend from rehab, Eva (Morgan Saylor), with whom Charlie flouts rules that discourage romantic relationships among patients. Although Ms. Saylor brings some personality to her turbulent, unfocused character, you have the queasy sense that somebody decided the movie needed a pretty woman to give it some juice. But soon enough, “Being Charlie” forgets about Eva to concentrate on Charlie’s gruesome relapse on the eve of the governor’s election, and David’s having to cope with the negative publicity about his son’s behavior. It takes a drug-related tragedy to bring Charlie to his senses. The perfunctory upbeat ending leaves you unconvinced that worst is over. “Being Charlie” is not rated. Running time: 1 hour 37 minutes.` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `document_synopsis` will be updated with value `` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Heat (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] IMAGES:

[16:32:35] TAXONOMIES:

[16:32:35] - Importing taxonomy `resource_category` ...

[16:32:35] - Attempted to create parent Resource resource_category `History`, duplicate detected. Importing Resource to existing `History` resource_category, ID 679, slug `history` ...

[16:32:35] - Attempted to create parent Resource resource_category `Modernity`, duplicate detected. Importing Resource to existing `Modernity` resource_category, ID 681, slug `modernity` ...

[16:32:35] - Attempted to create parent Resource resource_category `Revelation`, duplicate detected. Importing Resource to existing `Revelation` resource_category, ID 669, slug `revelation` ...

[16:32:35] - Importing taxonomy `video_contributor` ...

[16:32:35] - Importing taxonomy `document_contributor` ...

[16:32:35] CREATED `Heat (1995)` `Resource` (ID: 2334)

[16:32:35] ACTION: pmxi_saved_post

[16:32:35] ACTION: pmxi_after_post_import

[16:32:35] ---

[16:32:35] Record #8

[16:32:35] ACTION: pmxi_before_post_import ...

[16:32:35] Combine all data for post `Sabrina (1995)`...

[16:32:35] Find corresponding article among previously imported for post `Sabrina (1995)`...

[16:32:35] Duplicate post wasn't found with unique key `1700`...

[16:32:35] Applying filter `pmxi_article_data` for `Sabrina (1995)`

[16:32:35] CREATING `Sabrina (1995)` `Resource`

[16:32:35] Associate post `Sabrina (1995)` with current import ...

[16:32:35] CUSTOM FIELDS:

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `include_video` will be updated with value `1` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `“Bourek,” which takes its title from a flaky Mediterranean pastry, is described in the publicity notes, somewhat optimistically, as a comedy. Viewers, however, are unlikely to be more than marginally amused by its fair-to-middling acting, enervated plot and forcibly diverse group of drifting souls gathered on the fictional Greek island of Khronos. That island, though, is languidly pretty, photographed in tones of butterscotch and cerulean by the Serbian cinematographer Vladimir Subotic (a regular collaborator of the writer and director, Vladan Nikolic). In this burnished idyll, assorted characters bicker and lounge against a backdrop of news reports heralding social and financial catastrophe. An American billionaire (William Leroy) hunkers with his money and his gold-digging honey, waiting for the apocalypse promised by a white-suited televangelist (gustily played by Paul Sevigny, Chloë Sevigny’s brother). A radiant Greek woman (Katerina Misichroni) struggles to protect her debt-squeezed restaurant from a pushy developer while caring for an amnesiac British D.J. Around them, a flotsam of idiosyncratic travelers — a Yeats-quoting Libyan refugee; a Turkish drug dealer-cum-baker — ebbs and flows, saddled with naïvely hackneyed dialogue and a director who seems to be entertaining only himself. Yet Mr. Nikolic, whose 2015 feature “Allure” had an engaging originality that this movie lacks, has a talent for conjuring wistful disillusion among those buffeted by the winds of capitalism and change. When faced with disaster, he seems to be saying, go back to first principles: Eat, dance, fool around. And steal as much money as you can.` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_url` will be updated with value `https://vimeo.com/94970` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `include_document` will be updated with value `1` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_synposis` will be updated with value `“Bourek,” which takes its title from a flaky Mediterranean pastry, is described in the publicity notes, somewhat optimistically, as a comedy. Viewers, however, are unlikely to be more than marginally amused by its fair-to-middling acting, enervated plot and forcibly diverse group of drifting souls gathered on the fictional Greek island of Khronos. That island, though, is languidly pretty, photographed in tones of butterscotch and cerulean by the Serbian cinematographer Vladimir Subotic (a regular collaborator of the writer and director, Vladan Nikolic). In this burnished idyll, assorted characters bicker and lounge against a backdrop of news reports heralding social and financial catastrophe. An American billionaire (William Leroy) hunkers with his money and his gold-digging honey, waiting for the apocalypse promised by a white-suited televangelist (gustily played by Paul Sevigny, Chloë Sevigny’s brother). A radiant Greek woman (Katerina Misichroni) struggles to protect her debt-squeezed restaurant from a pushy developer while caring for an amnesiac British D.J. Around them, a flotsam of idiosyncratic travelers — a Yeats-quoting Libyan refugee; a Turkish drug dealer-cum-baker — ebbs and flows, saddled with naïvely hackneyed dialogue and a director who seems to be entertaining only himself. Yet Mr. Nikolic, whose 2015 feature “Allure” had an engaging originality that this movie lacks, has a talent for conjuring wistful disillusion among those buffeted by the winds of capitalism and change. When faced with disaster, he seems to be saying, go back to first principles: Eat, dance, fool around. And steal as much money as you can.` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `“Bourek,” which takes its title from a flaky Mediterranean pastry, is described in the publicity notes, somewhat optimistically, as a comedy. Viewers, however, are unlikely to be more than marginally amused by its fair-to-middling acting, enervated plot and forcibly diverse group of drifting souls gathered on the fictional Greek island of Khronos. That island, though, is languidly pretty, photographed in tones of butterscotch and cerulean by the Serbian cinematographer Vladimir Subotic (a regular collaborator of the writer and director, Vladan Nikolic). In this burnished idyll, assorted characters bicker and lounge against a backdrop of news reports heralding social and financial catastrophe. An American billionaire (William Leroy) hunkers with his money and his gold-digging honey, waiting for the apocalypse promised by a white-suited televangelist (gustily played by Paul Sevigny, Chloë Sevigny’s brother). A radiant Greek woman (Katerina Misichroni) struggles to protect her debt-squeezed restaurant from a pushy developer while caring for an amnesiac British D.J. Around them, a flotsam of idiosyncratic travelers — a Yeats-quoting Libyan refugee; a Turkish drug dealer-cum-baker — ebbs and flows, saddled with naïvely hackneyed dialogue and a director who seems to be entertaining only himself. Yet Mr. Nikolic, whose 2015 feature “Allure” had an engaging originality that this movie lacks, has a talent for conjuring wistful disillusion among those buffeted by the winds of capitalism and change. When faced with disaster, he seems to be saying, go back to first principles: Eat, dance, fool around. And steal as much money as you can.` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `document_synopsis` will be updated with value `` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Sabrina (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] IMAGES:

[16:32:35] TAXONOMIES:

[16:32:35] - Importing taxonomy `resource_category` ...

[16:32:35] - Attempted to create parent Resource resource_category `Biblical`, duplicate detected. Importing Resource to existing `Biblical` resource_category, ID 667, slug `biblical` ...

[16:32:35] - Attempted to create parent Resource resource_category `Old testament`, duplicate detected. Importing Resource to existing `Old testament` resource_category, ID 670, slug `old-testament` ...

[16:32:35] - Attempted to create parent Resource resource_category `Revelation`, duplicate detected. Importing Resource to existing `Revelation` resource_category, ID 669, slug `revelation` ...

[16:32:35] - Attempted to create parent Resource resource_category `Timothy`, duplicate detected. Importing Resource to existing `Timothy` resource_category, ID 678, slug `timothy` ...

[16:32:35] - Importing taxonomy `video_contributor` ...

[16:32:35] - Importing taxonomy `document_contributor` ...

[16:32:35] CREATED `Sabrina (1995)` `Resource` (ID: 2335)

[16:32:35] ACTION: pmxi_saved_post

[16:32:35] ACTION: pmxi_after_post_import

[16:32:35] ---

[16:32:35] Record #9

[16:32:35] ACTION: pmxi_before_post_import ...

[16:32:35] Combine all data for post `Tom and Huck (1995)`...

[16:32:35] Find corresponding article among previously imported for post `Tom and Huck (1995)`...

[16:32:35] Duplicate post wasn't found with unique key `1701`...

[16:32:35] Applying filter `pmxi_article_data` for `Tom and Huck (1995)`

[16:32:35] CREATING `Tom and Huck (1995)` `Resource`

[16:32:35] Associate post `Tom and Huck (1995)` with current import ...

[16:32:35] CUSTOM FIELDS:

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `include_video` will be updated with value `1` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `If you release a movie called “Captain America: Civil War” to an ideologically polarized nation in the midst of a notably contentious presidential campaign, you can expect to reap a whirlwind of think pieces. In spite of occasional public scolding about the rampant misuse of allegorical interpretation, hard-pressed, click-seeking cultural journalists and political pundits can be counted on to take up the hard work of finding echoes, resonances and subtexts in a big pop-cultural pseudo-event. If you hybridized Donald J. Trump and Elon Musk, would you get Tony Stark? Would Captain America’s endorsement have made a difference for John Kasich? Is Ant-Man a Bernie Bro? I hate to disappoint, but I have to say that I’m not really feeling it. The cues are there, of course. An aura of vaguely topical importance is as vital to a superhero-franchise movie as a merchandising deal. So “Civil War” pauses for a few moments of chin-scratching and speechifying about whether a group of genetically advantaged, highly weaponized individuals should be brought under the supervision of the United Nations. More seriously — because, come on now, do you really think Captain America is going to put on a blue U.N. helmet? — the film glances at some of the moral complexities of modern warfare. The designated good guys are responsible for the deaths of innocents, and the question of their accountability hovers over the movie and sets its plot in motion. But this very crowded, reasonably enjoyable installment in the Avengers cycle — written by Christopher Markus and Stephen McFeely and directed by Joe and Anthony Russo — reveals, even more than its predecessors, an essential truth about the Marvel Cinematic Universe. It’s not so much a grand science-fiction saga, or even a series of action-adventure movies, as a very expensive, perpetually renewed workplace sitcom. New characters are added as the seasons wear on. Cast members are replaced. The thing gets a little baroque and tests the boundaries of coherence, but we keep showing up because it can be pleasant, in a no-pressure, low-key kind of way, to hang out with these people as they banter and squabble and get the job done. Sometimes you want to go where everybody knows both your street name and your nom de cape. (And yes, thank you, I’m perfectly aware that these Marvel superheroes don’t wear capes.) In this episode, based on a run of comics written by Mark Millar, some of the usual crowd is missing. No Hulk. No Thor. No Nick Fury. The newcomers include Black Panther (Chadwick Boseman), whose first solo adventure is prophesied during the final credits, and a very young Spider-Man (Tom Holland), whose solo adventures are the property of a different movie studio. Do you need a list of the rest of them? There are a lot, and my space is limited. The headliners are Cap (Chris Evans, of course) and Iron Man (Robert Downey Jr., of course), and most of the others you hope will show up for at least a brisk punch-up, a bout of soul-searching or a self-conscious joke or two. “Captain America: Civil War” is like the last number at a big benefit concert, when a mob of pop stars squeezes onto the stage to sing “This Land Is Your Land,” or whatever. Some performers sing a whole verse. Others shake maracas for the cause and stare off into the middle distance. Scarlett Johansson is on board. Also Anthony Mackie, Don Cheadle, Paul Rudd, Elizabeth Olsen and so many more. You can go ahead and match them with their superhero identities and civilian alter egos. I’m not here to do your homework for you. The Russo brothers, whose résumés include “Arrested Development” as well as “Captain America: The Winter Soldier,” are better at dialogue than at action. The early chases and fights are hectic, stroboscopic messes, evidence less of the innovative power of digital effects than of the creative fatigue they can induce. It’s difficult to see exactly what’s going on, but you’ve seen it before anyway, so it hardly matters. People and vehicles are tossed around. Buildings blow up. Glass shatters. It all serves a cumbersome and not very original narrative. As in “Batman v Superman,” a dude with a grudge (Daniel Brühl) is determined to set the superheroes against one another. To call the fighting that ensues a civil war seems a bit grandiose, though. A more honest title would have been “Captain America: Collegial Misunderstanding” or “Captain America: Intramural Pickup Game.” The differences of opinion and temperament that cleave the Avengers — it comes down to Iron Man’s arrogance versus the Captain’s stubborn rectitude — provide a pretext for a few sequences of brawling and yelling that are actually kind of exciting to watch. The best part of the movie is a six-on-six rumble at an airport, in which two teams of costumed co-workers, with a few ringers in the mix, face off to work out their issues. The battle is entertaining precisely because the stakes are relatively low. No planets, cities or galaxies are in peril, and you can enjoy the spectacle without any of the usual action-movie queasiness about invisible and extensive civilian casualties. (Someone will have to clean up the mess, of course, but that just means overtime for the maintenance workers, who may even be unionized). And there is a solid, satisfying physicality to the effects. That’s true of the climactic mano a mano as well, though the mood is grimmer and the sense of personal grievance more intense. “Captain America: Civil War” does not in any way transcend the conventions of the genre. On the contrary: It succeeds because it doesn’t really try. The dialogue is peppered with movie and pop-cultural references — at one point, Spider-Man draws inspiration from “a really old movie” called “The Empire Strikes Back” — and there is even a sly joke about the proliferation of “enhanced” battlers of evil and world-threatening events. The movie seems aware that it risks wearing out its welcome, which would be disastrous, given that Marvel and Disney have already locked in release dates into the next decade. Tune in next time? Sure, why not. It’s a job somebody has to do. “Captain America: Civil War” is rated PG-13 (Parents strongly cautioned). A little more swearing and a lot less killing than you might expect. Running time: 2 hours 27 minutes.` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_url` will be updated with value `https://vimeo.com/99317` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `include_document` will be updated with value `1` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_synposis` will be updated with value `If you release a movie called “Captain America: Civil War” to an ideologically polarized nation in the midst of a notably contentious presidential campaign, you can expect to reap a whirlwind of think pieces. In spite of occasional public scolding about the rampant misuse of allegorical interpretation, hard-pressed, click-seeking cultural journalists and political pundits can be counted on to take up the hard work of finding echoes, resonances and subtexts in a big pop-cultural pseudo-event. If you hybridized Donald J. Trump and Elon Musk, would you get Tony Stark? Would Captain America’s endorsement have made a difference for John Kasich? Is Ant-Man a Bernie Bro? I hate to disappoint, but I have to say that I’m not really feeling it. The cues are there, of course. An aura of vaguely topical importance is as vital to a superhero-franchise movie as a merchandising deal. So “Civil War” pauses for a few moments of chin-scratching and speechifying about whether a group of genetically advantaged, highly weaponized individuals should be brought under the supervision of the United Nations. More seriously — because, come on now, do you really think Captain America is going to put on a blue U.N. helmet? — the film glances at some of the moral complexities of modern warfare. The designated good guys are responsible for the deaths of innocents, and the question of their accountability hovers over the movie and sets its plot in motion. But this very crowded, reasonably enjoyable installment in the Avengers cycle — written by Christopher Markus and Stephen McFeely and directed by Joe and Anthony Russo — reveals, even more than its predecessors, an essential truth about the Marvel Cinematic Universe. It’s not so much a grand science-fiction saga, or even a series of action-adventure movies, as a very expensive, perpetually renewed workplace sitcom. New characters are added as the seasons wear on. Cast members are replaced. The thing gets a little baroque and tests the boundaries of coherence, but we keep showing up because it can be pleasant, in a no-pressure, low-key kind of way, to hang out with these people as they banter and squabble and get the job done. Sometimes you want to go where everybody knows both your street name and your nom de cape. (And yes, thank you, I’m perfectly aware that these Marvel superheroes don’t wear capes.) In this episode, based on a run of comics written by Mark Millar, some of the usual crowd is missing. No Hulk. No Thor. No Nick Fury. The newcomers include Black Panther (Chadwick Boseman), whose first solo adventure is prophesied during the final credits, and a very young Spider-Man (Tom Holland), whose solo adventures are the property of a different movie studio. Do you need a list of the rest of them? There are a lot, and my space is limited. The headliners are Cap (Chris Evans, of course) and Iron Man (Robert Downey Jr., of course), and most of the others you hope will show up for at least a brisk punch-up, a bout of soul-searching or a self-conscious joke or two. “Captain America: Civil War” is like the last number at a big benefit concert, when a mob of pop stars squeezes onto the stage to sing “This Land Is Your Land,” or whatever. Some performers sing a whole verse. Others shake maracas for the cause and stare off into the middle distance. Scarlett Johansson is on board. Also Anthony Mackie, Don Cheadle, Paul Rudd, Elizabeth Olsen and so many more. You can go ahead and match them with their superhero identities and civilian alter egos. I’m not here to do your homework for you. The Russo brothers, whose résumés include “Arrested Development” as well as “Captain America: The Winter Soldier,” are better at dialogue than at action. The early chases and fights are hectic, stroboscopic messes, evidence less of the innovative power of digital effects than of the creative fatigue they can induce. It’s difficult to see exactly what’s going on, but you’ve seen it before anyway, so it hardly matters. People and vehicles are tossed around. Buildings blow up. Glass shatters. It all serves a cumbersome and not very original narrative. As in “Batman v Superman,” a dude with a grudge (Daniel Brühl) is determined to set the superheroes against one another. To call the fighting that ensues a civil war seems a bit grandiose, though. A more honest title would have been “Captain America: Collegial Misunderstanding” or “Captain America: Intramural Pickup Game.” The differences of opinion and temperament that cleave the Avengers — it comes down to Iron Man’s arrogance versus the Captain’s stubborn rectitude — provide a pretext for a few sequences of brawling and yelling that are actually kind of exciting to watch. The best part of the movie is a six-on-six rumble at an airport, in which two teams of costumed co-workers, with a few ringers in the mix, face off to work out their issues. The battle is entertaining precisely because the stakes are relatively low. No planets, cities or galaxies are in peril, and you can enjoy the spectacle without any of the usual action-movie queasiness about invisible and extensive civilian casualties. (Someone will have to clean up the mess, of course, but that just means overtime for the maintenance workers, who may even be unionized). And there is a solid, satisfying physicality to the effects. That’s true of the climactic mano a mano as well, though the mood is grimmer and the sense of personal grievance more intense. “Captain America: Civil War” does not in any way transcend the conventions of the genre. On the contrary: It succeeds because it doesn’t really try. The dialogue is peppered with movie and pop-cultural references — at one point, Spider-Man draws inspiration from “a really old movie” called “The Empire Strikes Back” — and there is even a sly joke about the proliferation of “enhanced” battlers of evil and world-threatening events. The movie seems aware that it risks wearing out its welcome, which would be disastrous, given that Marvel and Disney have already locked in release dates into the next decade. Tune in next time? Sure, why not. It’s a job somebody has to do. “Captain America: Civil War” is rated PG-13 (Parents strongly cautioned). A little more swearing and a lot less killing than you might expect. Running time: 2 hours 27 minutes.` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `If you release a movie called “Captain America: Civil War” to an ideologically polarized nation in the midst of a notably contentious presidential campaign, you can expect to reap a whirlwind of think pieces. In spite of occasional public scolding about the rampant misuse of allegorical interpretation, hard-pressed, click-seeking cultural journalists and political pundits can be counted on to take up the hard work of finding echoes, resonances and subtexts in a big pop-cultural pseudo-event. If you hybridized Donald J. Trump and Elon Musk, would you get Tony Stark? Would Captain America’s endorsement have made a difference for John Kasich? Is Ant-Man a Bernie Bro? I hate to disappoint, but I have to say that I’m not really feeling it. The cues are there, of course. An aura of vaguely topical importance is as vital to a superhero-franchise movie as a merchandising deal. So “Civil War” pauses for a few moments of chin-scratching and speechifying about whether a group of genetically advantaged, highly weaponized individuals should be brought under the supervision of the United Nations. More seriously — because, come on now, do you really think Captain America is going to put on a blue U.N. helmet? — the film glances at some of the moral complexities of modern warfare. The designated good guys are responsible for the deaths of innocents, and the question of their accountability hovers over the movie and sets its plot in motion. But this very crowded, reasonably enjoyable installment in the Avengers cycle — written by Christopher Markus and Stephen McFeely and directed by Joe and Anthony Russo — reveals, even more than its predecessors, an essential truth about the Marvel Cinematic Universe. It’s not so much a grand science-fiction saga, or even a series of action-adventure movies, as a very expensive, perpetually renewed workplace sitcom. New characters are added as the seasons wear on. Cast members are replaced. The thing gets a little baroque and tests the boundaries of coherence, but we keep showing up because it can be pleasant, in a no-pressure, low-key kind of way, to hang out with these people as they banter and squabble and get the job done. Sometimes you want to go where everybody knows both your street name and your nom de cape. (And yes, thank you, I’m perfectly aware that these Marvel superheroes don’t wear capes.) In this episode, based on a run of comics written by Mark Millar, some of the usual crowd is missing. No Hulk. No Thor. No Nick Fury. The newcomers include Black Panther (Chadwick Boseman), whose first solo adventure is prophesied during the final credits, and a very young Spider-Man (Tom Holland), whose solo adventures are the property of a different movie studio. Do you need a list of the rest of them? There are a lot, and my space is limited. The headliners are Cap (Chris Evans, of course) and Iron Man (Robert Downey Jr., of course), and most of the others you hope will show up for at least a brisk punch-up, a bout of soul-searching or a self-conscious joke or two. “Captain America: Civil War” is like the last number at a big benefit concert, when a mob of pop stars squeezes onto the stage to sing “This Land Is Your Land,” or whatever. Some performers sing a whole verse. Others shake maracas for the cause and stare off into the middle distance. Scarlett Johansson is on board. Also Anthony Mackie, Don Cheadle, Paul Rudd, Elizabeth Olsen and so many more. You can go ahead and match them with their superhero identities and civilian alter egos. I’m not here to do your homework for you. The Russo brothers, whose résumés include “Arrested Development” as well as “Captain America: The Winter Soldier,” are better at dialogue than at action. The early chases and fights are hectic, stroboscopic messes, evidence less of the innovative power of digital effects than of the creative fatigue they can induce. It’s difficult to see exactly what’s going on, but you’ve seen it before anyway, so it hardly matters. People and vehicles are tossed around. Buildings blow up. Glass shatters. It all serves a cumbersome and not very original narrative. As in “Batman v Superman,” a dude with a grudge (Daniel Brühl) is determined to set the superheroes against one another. To call the fighting that ensues a civil war seems a bit grandiose, though. A more honest title would have been “Captain America: Collegial Misunderstanding” or “Captain America: Intramural Pickup Game.” The differences of opinion and temperament that cleave the Avengers — it comes down to Iron Man’s arrogance versus the Captain’s stubborn rectitude — provide a pretext for a few sequences of brawling and yelling that are actually kind of exciting to watch. The best part of the movie is a six-on-six rumble at an airport, in which two teams of costumed co-workers, with a few ringers in the mix, face off to work out their issues. The battle is entertaining precisely because the stakes are relatively low. No planets, cities or galaxies are in peril, and you can enjoy the spectacle without any of the usual action-movie queasiness about invisible and extensive civilian casualties. (Someone will have to clean up the mess, of course, but that just means overtime for the maintenance workers, who may even be unionized). And there is a solid, satisfying physicality to the effects. That’s true of the climactic mano a mano as well, though the mood is grimmer and the sense of personal grievance more intense. “Captain America: Civil War” does not in any way transcend the conventions of the genre. On the contrary: It succeeds because it doesn’t really try. The dialogue is peppered with movie and pop-cultural references — at one point, Spider-Man draws inspiration from “a really old movie” called “The Empire Strikes Back” — and there is even a sly joke about the proliferation of “enhanced” battlers of evil and world-threatening events. The movie seems aware that it risks wearing out its welcome, which would be disastrous, given that Marvel and Disney have already locked in release dates into the next decade. Tune in next time? Sure, why not. It’s a job somebody has to do. “Captain America: Civil War” is rated PG-13 (Parents strongly cautioned). A little more swearing and a lot less killing than you might expect. Running time: 2 hours 27 minutes.` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `document_synopsis` will be updated with value `` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Tom and Huck (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] IMAGES:

[16:32:35] TAXONOMIES:

[16:32:35] - Importing taxonomy `resource_category` ...

[16:32:35] - Attempted to create parent Resource resource_category `Biblical`, duplicate detected. Importing Resource to existing `Biblical` resource_category, ID 667, slug `biblical` ...

[16:32:35] - Attempted to create parent Resource resource_category `New testament`, duplicate detected. Importing Resource to existing `New testament` resource_category, ID 672, slug `new-testament` ...

[16:32:35] - Attempted to create parent Resource resource_category `Timothy`, duplicate detected. Importing Resource to existing `Timothy` resource_category, ID 678, slug `timothy` ...

[16:32:35] - Importing taxonomy `video_contributor` ...

[16:32:35] - Importing taxonomy `document_contributor` ...

[16:32:35] CREATED `Tom and Huck (1995)` `Resource` (ID: 2336)

[16:32:35] ACTION: pmxi_saved_post

[16:32:35] ACTION: pmxi_after_post_import

[16:32:35] ---

[16:32:35] Record #10

[16:32:35] ACTION: pmxi_before_post_import ...

[16:32:35] Combine all data for post `Sudden Death (1995)`...

[16:32:35] Find corresponding article among previously imported for post `Sudden Death (1995)`...

[16:32:35] Duplicate post wasn't found with unique key `1702`...

[16:32:35] Applying filter `pmxi_article_data` for `Sudden Death (1995)`

[16:32:35] CREATING `Sudden Death (1995)` `Resource`

[16:32:35] Associate post `Sudden Death (1995)` with current import ...

[16:32:35] CUSTOM FIELDS:

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `include_video` will be updated with value `1` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `“Compadres” tries to be a lighthearted cross-border buddy film, and sometimes it succeeds. But consistency is a problem — it doesn’t hit those humorous high notes often enough, and when it’s not in the comedic groove, it’s muddy. Omar Chaparro plays Garza, a Mexican police officer whose reckless style and contempt for authority soon make him a former Mexican police officer. Finding redemption means tracking down some crime syndicate loot that is already the subject of a dispute among rival thugs. Eventually Garza forms an alliance with a young American hacker (Joey Morgan) who played a small role in moving the hot money. Mr. Chaparro and Mr. Morgan trade obligatory insults on their way toward begrudging mutual respect, but they never quite find the buddy comfort zone attained by the best pairs in this genre. Some of the bad guys are amusing — one is inexplicably in clown makeup; another’s preferred weapon is a flamethrower. Eric Roberts turns up occasionally as an F.B.I. agent, but he’s never around long enough to make good use of his skills. There are laughs in this bilingual yarn, but the story grows convoluted, and Enrique Begne, the director, relies far too much on the stock cop-movie scene: heroes in a seemingly impossible fix, guns trained on them but no one firing. Ho-hum; here comes another miraculous escape.` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_url` will be updated with value `https://vimeo.com/108914` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `include_document` will be updated with value `1` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_synposis` will be updated with value `“Compadres” tries to be a lighthearted cross-border buddy film, and sometimes it succeeds. But consistency is a problem — it doesn’t hit those humorous high notes often enough, and when it’s not in the comedic groove, it’s muddy. Omar Chaparro plays Garza, a Mexican police officer whose reckless style and contempt for authority soon make him a former Mexican police officer. Finding redemption means tracking down some crime syndicate loot that is already the subject of a dispute among rival thugs. Eventually Garza forms an alliance with a young American hacker (Joey Morgan) who played a small role in moving the hot money. Mr. Chaparro and Mr. Morgan trade obligatory insults on their way toward begrudging mutual respect, but they never quite find the buddy comfort zone attained by the best pairs in this genre. Some of the bad guys are amusing — one is inexplicably in clown makeup; another’s preferred weapon is a flamethrower. Eric Roberts turns up occasionally as an F.B.I. agent, but he’s never around long enough to make good use of his skills. There are laughs in this bilingual yarn, but the story grows convoluted, and Enrique Begne, the director, relies far too much on the stock cop-movie scene: heroes in a seemingly impossible fix, guns trained on them but no one firing. Ho-hum; here comes another miraculous escape.` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `“Compadres” tries to be a lighthearted cross-border buddy film, and sometimes it succeeds. But consistency is a problem — it doesn’t hit those humorous high notes often enough, and when it’s not in the comedic groove, it’s muddy. Omar Chaparro plays Garza, a Mexican police officer whose reckless style and contempt for authority soon make him a former Mexican police officer. Finding redemption means tracking down some crime syndicate loot that is already the subject of a dispute among rival thugs. Eventually Garza forms an alliance with a young American hacker (Joey Morgan) who played a small role in moving the hot money. Mr. Chaparro and Mr. Morgan trade obligatory insults on their way toward begrudging mutual respect, but they never quite find the buddy comfort zone attained by the best pairs in this genre. Some of the bad guys are amusing — one is inexplicably in clown makeup; another’s preferred weapon is a flamethrower. Eric Roberts turns up occasionally as an F.B.I. agent, but he’s never around long enough to make good use of his skills. There are laughs in this bilingual yarn, but the story grows convoluted, and Enrique Begne, the director, relies far too much on the stock cop-movie scene: heroes in a seemingly impossible fix, guns trained on them but no one firing. Ho-hum; here comes another miraculous escape.` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `document_synopsis` will be updated with value `` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Sudden Death (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] IMAGES:

[16:32:35] TAXONOMIES:

[16:32:35] - Importing taxonomy `resource_category` ...

[16:32:35] - Attempted to create parent Resource resource_category `History`, duplicate detected. Importing Resource to existing `History` resource_category, ID 679, slug `history` ...

[16:32:35] - Attempted to create parent Resource resource_category `Judges`, duplicate detected. Importing Resource to existing `Judges` resource_category, ID 677, slug `judges` ...

[16:32:35] - Attempted to create parent Resource resource_category `Modernity`, duplicate detected. Importing Resource to existing `Modernity` resource_category, ID 681, slug `modernity` ...

[16:32:35] - Attempted to create parent Resource resource_category `Old testament`, duplicate detected. Importing Resource to existing `Old testament` resource_category, ID 670, slug `old-testament` ...

[16:32:35] - Importing taxonomy `video_contributor` ...

[16:32:35] - Importing taxonomy `document_contributor` ...

[16:32:35] CREATED `Sudden Death (1995)` `Resource` (ID: 2337)

[16:32:35] ACTION: pmxi_saved_post

[16:32:35] ACTION: pmxi_after_post_import

[16:32:35] ---

[16:32:35] Record #11

[16:32:35] ACTION: pmxi_before_post_import ...

[16:32:35] Combine all data for post `GoldenEye (1995)`...

[16:32:35] Find corresponding article among previously imported for post `GoldenEye (1995)`...

[16:32:35] Duplicate post wasn't found with unique key `1703`...

[16:32:35] Applying filter `pmxi_article_data` for `GoldenEye (1995)`

[16:32:35] CREATING `GoldenEye (1995)` `Resource`

[16:32:35] Associate post `GoldenEye (1995)` with current import ...

[16:32:35] CUSTOM FIELDS:

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `subject` will be updated with value `This is what the punter will see` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `include_video` will be updated with value `1` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `Bred from a crazy broodmare (“She was just mental,” one character says) and raised on an unkempt allotment in an unremarkable Welsh village, the gangly foal known as Dream Alliance seemed unlikely to set the racecourse on fire. Yet “he looked classy,” one of Dream’s many part owners, Brian Vokes, recalls. “He looked the part.” Spanning a decade of trepidation and triumph, “Dark Horse” is the thoroughly disarming story of that foal’s canter through the class barrier to challenge his Thoroughbred betters. Behind him, he dragged the hopes of a depressed former coal mining town forced back on its heels by the pit closures of the 1980s and the absence of financial alternatives. Unfolding with a sincerity that dares you to roll your eyes, this warmhearted documentary by Louise Osmond wallows in its working-class roots like a horse in clover. “It was Janet’s dream, it was,” Mr. Vokes says, referring to his wife, a barmaid and grocery-store cleaner who parlayed her passion for racing pigeons and whippets into a more ambitious adventure. When, in 2000, she determined to breed a racehorse, her pals down at the workingmen’s club were soon roped in, contributing the equivalent of $14 a week to pay for its upkeep and a fancy training school. They called themselves the Syndicate. Stitching together cheery oral testimonies and frustratingly fuzzy archive material, Ms. Osmond counters the sparseness of visual record with brisk re-enactments and a Welsh chorus of quipping cronies. Led by the indomitable Ms. Vokes, these characters — photographed in steady, unadorned close-ups by Benjamin Kracun — are natural storytellers. Captured in pub and living room, in hair salon and shed, their cozily unguarded recollections reinforce Ms. Osmond’s focus on blue-collar striving and us-versus-them nose-thumbing. This is sometimes overemphasized. (When Dream’s toffee-nosed trainer becomes a little choked up, the camera waits patiently as though eager to catch the glint of a tear.) Yet “Dark Horse” is a canny package that uses the classic structure of the sports-underdog story to deliver a glowing ode to community pride and the merits of collective action over individual gain. Scooting quickly past the brutality of steeplechasing, with its high rates of injury and death, Ms. Osmond lingers instead on the near-universal need to feel special. “All through my life, I’ve never really been me,” Ms. Vokes says, explaining how she felt submerged in the roles of sister, daughter and wife. A more cynical or mischievous filmmaker might have slipped Glen Campbell’s “Dreams of the Everyday Housewife” onto the soundtrack, but not Ms. Osmond. The villagers have a new foal named Impossible Dream, and she might be betting on a sequel. “Dark Horse” is rated PG (Parental guidance suggested). The cleanest, quickest, easiest-looking foal birth you’ve ever seen. Children will think it’s magic. Running time: 1 hour 26 minutes.` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_url` will be updated with value `https://vimeo.com/109958` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `include_document` will be updated with value `1` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `video_synposis` will be updated with value `Bred from a crazy broodmare (“She was just mental,” one character says) and raised on an unkempt allotment in an unremarkable Welsh village, the gangly foal known as Dream Alliance seemed unlikely to set the racecourse on fire. Yet “he looked classy,” one of Dream’s many part owners, Brian Vokes, recalls. “He looked the part.” Spanning a decade of trepidation and triumph, “Dark Horse” is the thoroughly disarming story of that foal’s canter through the class barrier to challenge his Thoroughbred betters. Behind him, he dragged the hopes of a depressed former coal mining town forced back on its heels by the pit closures of the 1980s and the absence of financial alternatives. Unfolding with a sincerity that dares you to roll your eyes, this warmhearted documentary by Louise Osmond wallows in its working-class roots like a horse in clover. “It was Janet’s dream, it was,” Mr. Vokes says, referring to his wife, a barmaid and grocery-store cleaner who parlayed her passion for racing pigeons and whippets into a more ambitious adventure. When, in 2000, she determined to breed a racehorse, her pals down at the workingmen’s club were soon roped in, contributing the equivalent of $14 a week to pay for its upkeep and a fancy training school. They called themselves the Syndicate. Stitching together cheery oral testimonies and frustratingly fuzzy archive material, Ms. Osmond counters the sparseness of visual record with brisk re-enactments and a Welsh chorus of quipping cronies. Led by the indomitable Ms. Vokes, these characters — photographed in steady, unadorned close-ups by Benjamin Kracun — are natural storytellers. Captured in pub and living room, in hair salon and shed, their cozily unguarded recollections reinforce Ms. Osmond’s focus on blue-collar striving and us-versus-them nose-thumbing. This is sometimes overemphasized. (When Dream’s toffee-nosed trainer becomes a little choked up, the camera waits patiently as though eager to catch the glint of a tear.) Yet “Dark Horse” is a canny package that uses the classic structure of the sports-underdog story to deliver a glowing ode to community pride and the merits of collective action over individual gain. Scooting quickly past the brutality of steeplechasing, with its high rates of injury and death, Ms. Osmond lingers instead on the near-universal need to feel special. “All through my life, I’ve never really been me,” Ms. Vokes says, explaining how she felt submerged in the roles of sister, daughter and wife. A more cynical or mischievous filmmaker might have slipped Glen Campbell’s “Dreams of the Everyday Housewife” onto the soundtrack, but not Ms. Osmond. The villagers have a new foal named Impossible Dream, and she might be betting on a sequel. “Dark Horse” is rated PG (Parental guidance suggested). The cleanest, quickest, easiest-looking foal birth you’ve ever seen. Children will think it’s magic. Running time: 1 hour 26 minutes.` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `Bred from a crazy broodmare (“She was just mental,” one character says) and raised on an unkempt allotment in an unremarkable Welsh village, the gangly foal known as Dream Alliance seemed unlikely to set the racecourse on fire. Yet “he looked classy,” one of Dream’s many part owners, Brian Vokes, recalls. “He looked the part.” Spanning a decade of trepidation and triumph, “Dark Horse” is the thoroughly disarming story of that foal’s canter through the class barrier to challenge his Thoroughbred betters. Behind him, he dragged the hopes of a depressed former coal mining town forced back on its heels by the pit closures of the 1980s and the absence of financial alternatives. Unfolding with a sincerity that dares you to roll your eyes, this warmhearted documentary by Louise Osmond wallows in its working-class roots like a horse in clover. “It was Janet’s dream, it was,” Mr. Vokes says, referring to his wife, a barmaid and grocery-store cleaner who parlayed her passion for racing pigeons and whippets into a more ambitious adventure. When, in 2000, she determined to breed a racehorse, her pals down at the workingmen’s club were soon roped in, contributing the equivalent of $14 a week to pay for its upkeep and a fancy training school. They called themselves the Syndicate. Stitching together cheery oral testimonies and frustratingly fuzzy archive material, Ms. Osmond counters the sparseness of visual record with brisk re-enactments and a Welsh chorus of quipping cronies. Led by the indomitable Ms. Vokes, these characters — photographed in steady, unadorned close-ups by Benjamin Kracun — are natural storytellers. Captured in pub and living room, in hair salon and shed, their cozily unguarded recollections reinforce Ms. Osmond’s focus on blue-collar striving and us-versus-them nose-thumbing. This is sometimes overemphasized. (When Dream’s toffee-nosed trainer becomes a little choked up, the camera waits patiently as though eager to catch the glint of a tear.) Yet “Dark Horse” is a canny package that uses the classic structure of the sports-underdog story to deliver a glowing ode to community pride and the merits of collective action over individual gain. Scooting quickly past the brutality of steeplechasing, with its high rates of injury and death, Ms. Osmond lingers instead on the near-universal need to feel special. “All through my life, I’ve never really been me,” Ms. Vokes says, explaining how she felt submerged in the roles of sister, daughter and wife. A more cynical or mischievous filmmaker might have slipped Glen Campbell’s “Dreams of the Everyday Housewife” onto the soundtrack, but not Ms. Osmond. The villagers have a new foal named Impossible Dream, and she might be betting on a sequel. “Dark Horse” is rated PG (Parental guidance suggested). The cleanest, quickest, easiest-looking foal birth you’ve ever seen. Children will think it’s magic. Running time: 1 hour 26 minutes.` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `document_synopsis` will be updated with value `` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] - ACTION: pmxi_custom_field

[16:32:35] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `GoldenEye (1995)` ...

[16:32:35] - ACTION: pmxi_update_post_meta

[16:32:35] IMAGES:

[16:32:35] TAXONOMIES:

[16:32:35] - Importing taxonomy `resource_category` ...

[16:32:35] - Attempted to create parent Resource resource_category `Judges`, duplicate detected. Importing Resource to existing `Judges` resource_category, ID 677, slug `judges` ...

[16:32:35] - Attempted to create parent Resource resource_category `Modernity`, duplicate detected. Importing Resource to existing `Modernity` resource_category, ID 681, slug `modernity` ...

[16:32:35] - Attempted to create parent Resource resource_category `Old testament`, duplicate detected. Importing Resource to existing `Old testament` resource_category, ID 670, slug `old-testament` ...

[16:32:35] - Importing taxonomy `video_contributor` ...

[16:32:35] - Importing taxonomy `document_contributor` ...

[16:32:35] CREATED `GoldenEye (1995)` `Resource` (ID: 2338)

[16:32:35] ACTION: pmxi_saved_post

[16:32:35] ACTION: pmxi_after_post_import

[16:32:35] ---

[16:32:35] Record #12

[16:32:35] ACTION: pmxi_before_post_import ...

[16:32:35] Combine all data for post `American President, The (1995)`...

[16:32:35] Find corresponding article among previously imported for post `American President, The (1995)`...

[16:32:35] Duplicate post wasn't found with unique key `1704`...

[16:32:35] Applying filter `pmxi_article_data` for `American President, The (1995)`

[16:32:35] CREATING `American President, The (1995)` `Resource`

[16:32:36] Associate post `American President, The (1995)` with current import ...

[16:32:36] CUSTOM FIELDS:

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `subject` will be updated with value `This is what the punter will see` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `include_video` will be updated with value `1` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `Take an aging white Jewish baker, add a young black Muslim immigrant, and what do you have? The ingredients for a pleasant but pat story in which bridges are built across religious, racial and generational divides in a way that happens far more often in feel-good movies than in real life. The film, directed by John Goldschmidt, is “Dough” and gives us Nat (Jonathan Pryce), whose kosher London bakery is struggling and facing a hostile takeover bid from a cutthroat developer who wants to tear it down. When Nat’s apprentice quits, he reluctantly hires Ayyash (Jerome Holder), a Muslim immigrant from Africa. Ayyash supplements the family income by selling marijuana on the side, and when he makes an unplanned recipe alteration and mixes some into the baked goods, business booms. The joke in which unlikely and unsuspecting people eat something with pot in it is by now rather worn out, but Mr. Pryce and especially Mr. Holder are appealing. There’s never much doubt where the story is going: Hardships will be endured, mutual respect will develop, bonding will occur, lessons will be learned, the forces of greed will be foiled. “Dough” is sweet, often funny and always nonthreatening, a movie for those who wish the intractable realities of the world would just disappear.` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `video_url` will be updated with value `https://vimeo.com/115306` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `include_document` will be updated with value `1` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `video_synposis` will be updated with value `Take an aging white Jewish baker, add a young black Muslim immigrant, and what do you have? The ingredients for a pleasant but pat story in which bridges are built across religious, racial and generational divides in a way that happens far more often in feel-good movies than in real life. The film, directed by John Goldschmidt, is “Dough” and gives us Nat (Jonathan Pryce), whose kosher London bakery is struggling and facing a hostile takeover bid from a cutthroat developer who wants to tear it down. When Nat’s apprentice quits, he reluctantly hires Ayyash (Jerome Holder), a Muslim immigrant from Africa. Ayyash supplements the family income by selling marijuana on the side, and when he makes an unplanned recipe alteration and mixes some into the baked goods, business booms. The joke in which unlikely and unsuspecting people eat something with pot in it is by now rather worn out, but Mr. Pryce and especially Mr. Holder are appealing. There’s never much doubt where the story is going: Hardships will be endured, mutual respect will develop, bonding will occur, lessons will be learned, the forces of greed will be foiled. “Dough” is sweet, often funny and always nonthreatening, a movie for those who wish the intractable realities of the world would just disappear.` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `Take an aging white Jewish baker, add a young black Muslim immigrant, and what do you have? The ingredients for a pleasant but pat story in which bridges are built across religious, racial and generational divides in a way that happens far more often in feel-good movies than in real life. The film, directed by John Goldschmidt, is “Dough” and gives us Nat (Jonathan Pryce), whose kosher London bakery is struggling and facing a hostile takeover bid from a cutthroat developer who wants to tear it down. When Nat’s apprentice quits, he reluctantly hires Ayyash (Jerome Holder), a Muslim immigrant from Africa. Ayyash supplements the family income by selling marijuana on the side, and when he makes an unplanned recipe alteration and mixes some into the baked goods, business booms. The joke in which unlikely and unsuspecting people eat something with pot in it is by now rather worn out, but Mr. Pryce and especially Mr. Holder are appealing. There’s never much doubt where the story is going: Hardships will be endured, mutual respect will develop, bonding will occur, lessons will be learned, the forces of greed will be foiled. “Dough” is sweet, often funny and always nonthreatening, a movie for those who wish the intractable realities of the world would just disappear.` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `document_synopsis` will be updated with value `` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `American President, The (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] IMAGES:

[16:32:36] TAXONOMIES:

[16:32:36] - Importing taxonomy `resource_category` ...

[16:32:36] - Attempted to create parent Resource resource_category `Biblical`, duplicate detected. Importing Resource to existing `Biblical` resource_category, ID 667, slug `biblical` ...

[16:32:36] - Attempted to create parent Resource resource_category `New testament`, duplicate detected. Importing Resource to existing `New testament` resource_category, ID 672, slug `new-testament` ...

[16:32:36] - Attempted to create parent Resource resource_category `Revelation`, duplicate detected. Importing Resource to existing `Revelation` resource_category, ID 669, slug `revelation` ...

[16:32:36] - Importing taxonomy `video_contributor` ...

[16:32:36] - Importing taxonomy `document_contributor` ...

[16:32:36] CREATED `American President, The (1995)` `Resource` (ID: 2339)

[16:32:36] ACTION: pmxi_saved_post

[16:32:36] ACTION: pmxi_after_post_import

[16:32:36] ---

[16:32:36] Record #13

[16:32:36] ACTION: pmxi_before_post_import ...

[16:32:36] Combine all data for post `Dracula: Dead and Loving It (1995)`...

[16:32:36] Find corresponding article among previously imported for post `Dracula: Dead and Loving It (1995)`...

[16:32:36] Duplicate post wasn't found with unique key `1705`...

[16:32:36] Applying filter `pmxi_article_data` for `Dracula: Dead and Loving It (1995)`

[16:32:36] CREATING `Dracula: Dead and Loving It (1995)` `Resource`

[16:32:36] Associate post `Dracula: Dead and Loving It (1995)` with current import ...

[16:32:36] CUSTOM FIELDS:

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `include_video` will be updated with value `1` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `“Elstree 1976,” a documentary both sweet and bittersweet, might sound as if it’s only for “Star Wars” nerds. But in telling a small story of bit players, the director, Jon Spira, captures a more universal picture of the droplets of fame created by a pop-culture tidal wave. The film checks in on a handful of actors who played small parts in the original “Star Wars,” parts of which were filmed at Elstree Studios near London. They include Dave Prowse, who played Darth Vader (though that character’s memorable voice was provided by James Earl Jones), a few other named characters, and some extras who appeared only as Stormtroopers or faces in a crowd. Their anecdotes about how they came to be in the movie and their experiences during filming are delightful, but Mr. Spira also finds a certain melancholy in their tales. Some view their “Star Wars” moment as just a blip in a long life. Others have embraced the culture that sprang up around the movie, working the convention circuit, and the glimpses of that world are sad somehow, especially the descriptions of a hierarchy in which actors who had defined roles look down on mere extras. “Star Wars” fans will, of course, love this film, but it’s also a thought-provoking exploration of the dawning of our current age, in which level of fame doesn’t necessarily match up with level of genuine accomplishment, and individuals can find themselves transformed by fast-moving fads and phenomena beyond their control.` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `video_url` will be updated with value `https://vimeo.com/118251` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `include_document` will be updated with value `1` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `video_synposis` will be updated with value `“Elstree 1976,” a documentary both sweet and bittersweet, might sound as if it’s only for “Star Wars” nerds. But in telling a small story of bit players, the director, Jon Spira, captures a more universal picture of the droplets of fame created by a pop-culture tidal wave. The film checks in on a handful of actors who played small parts in the original “Star Wars,” parts of which were filmed at Elstree Studios near London. They include Dave Prowse, who played Darth Vader (though that character’s memorable voice was provided by James Earl Jones), a few other named characters, and some extras who appeared only as Stormtroopers or faces in a crowd. Their anecdotes about how they came to be in the movie and their experiences during filming are delightful, but Mr. Spira also finds a certain melancholy in their tales. Some view their “Star Wars” moment as just a blip in a long life. Others have embraced the culture that sprang up around the movie, working the convention circuit, and the glimpses of that world are sad somehow, especially the descriptions of a hierarchy in which actors who had defined roles look down on mere extras. “Star Wars” fans will, of course, love this film, but it’s also a thought-provoking exploration of the dawning of our current age, in which level of fame doesn’t necessarily match up with level of genuine accomplishment, and individuals can find themselves transformed by fast-moving fads and phenomena beyond their control.` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `“Elstree 1976,” a documentary both sweet and bittersweet, might sound as if it’s only for “Star Wars” nerds. But in telling a small story of bit players, the director, Jon Spira, captures a more universal picture of the droplets of fame created by a pop-culture tidal wave. The film checks in on a handful of actors who played small parts in the original “Star Wars,” parts of which were filmed at Elstree Studios near London. They include Dave Prowse, who played Darth Vader (though that character’s memorable voice was provided by James Earl Jones), a few other named characters, and some extras who appeared only as Stormtroopers or faces in a crowd. Their anecdotes about how they came to be in the movie and their experiences during filming are delightful, but Mr. Spira also finds a certain melancholy in their tales. Some view their “Star Wars” moment as just a blip in a long life. Others have embraced the culture that sprang up around the movie, working the convention circuit, and the glimpses of that world are sad somehow, especially the descriptions of a hierarchy in which actors who had defined roles look down on mere extras. “Star Wars” fans will, of course, love this film, but it’s also a thought-provoking exploration of the dawning of our current age, in which level of fame doesn’t necessarily match up with level of genuine accomplishment, and individuals can find themselves transformed by fast-moving fads and phenomena beyond their control.` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `document_synopsis` will be updated with value `` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Dracula: Dead and Loving It (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] IMAGES:

[16:32:36] TAXONOMIES:

[16:32:36] - Importing taxonomy `resource_category` ...

[16:32:36] - Attempted to create parent Resource resource_category `Modernity`, duplicate detected. Importing Resource to existing `Modernity` resource_category, ID 681, slug `modernity` ...

[16:32:36] - Attempted to create parent Resource resource_category `New testament`, duplicate detected. Importing Resource to existing `New testament` resource_category, ID 672, slug `new-testament` ...

[16:32:36] - Attempted to create parent Resource resource_category `Old testament`, duplicate detected. Importing Resource to existing `Old testament` resource_category, ID 670, slug `old-testament` ...

[16:32:36] - Attempted to create parent Resource resource_category `Revelation`, duplicate detected. Importing Resource to existing `Revelation` resource_category, ID 669, slug `revelation` ...

[16:32:36] - Importing taxonomy `video_contributor` ...

[16:32:36] - Importing taxonomy `document_contributor` ...

[16:32:36] CREATED `Dracula: Dead and Loving It (1995)` `Resource` (ID: 2340)

[16:32:36] ACTION: pmxi_saved_post

[16:32:36] ACTION: pmxi_after_post_import

[16:32:36] ---

[16:32:36] Record #14

[16:32:36] ACTION: pmxi_before_post_import ...

[16:32:36] Combine all data for post `Balto (1995)`...

[16:32:36] Find corresponding article among previously imported for post `Balto (1995)`...

[16:32:36] Duplicate post wasn't found with unique key `1706`...

[16:32:36] Applying filter `pmxi_article_data` for `Balto (1995)`

[16:32:36] CREATING `Balto (1995)` `Resource`

[16:32:36] Associate post `Balto (1995)` with current import ...

[16:32:36] CUSTOM FIELDS:

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `include_video` will be updated with value `1` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `On Dec. 21, 1970, one of the most popular men in the world met one who would soon be among the more loathed, shaking hands and trading small talk. During this weird Oval Office summit, Elvis Presley (the beloved) trash-talked the Beatles as un-American and Richard M. Nixon (the other guy) handed out souvenirs to the King’s courtiers. Nixon didn’t write about this encounter in his memoirs, but a photograph of him smiling while shaking hands with Presley is the most requested item from the National Archives — a bigger hit than even the Constitution or the Bill of Rights. It was an improbable meeting of suspicious minds, instigated by Presley’s desire to be a “federal agent at large,” which would give him a badge that, Priscilla Presley later wrote, he thought would allow him to travel freely with guns and drugs. Presley personally delivered his request, handwritten on American Airlines stationery, to the White House, and a presidential aide pitched the get-together to the chief of staff, H. R. Haldeman: “If the president wants to meet with some bright young people outside of the government, Presley might be a perfect one to start with.” Mr. Haldeman was dubious. “You must be kidding,” he scribbled on the letter, though he did sign off on the visit. The meeting ran as long as 30 minutes if the presidential diaries are to be trusted. Not much happened. Presley gave Nixon a commemorative World War II Colt .45 mounted in a display case, and Nixon admired Presley’s cuff links. Presley also hugged Nixon. In his notes on the appointment, a White House assistant deputy, Egil Krogh, wrote that Presley, in a “very emotional manner,” told Nixon that he was on the president’s side, wanted to be helpful and restore some respect for the flag “which was being lost.” Presley, Mr. Krogh wrote, also said that he was “just a poor boy from Tennessee who had gotten a lot from his country, which in some way he wanted to repay.” Directed by Liza Johnson, “Elvis & Nixon,” a fictionalized take on the face-to-face, doesn’t add much to this rundown; mostly it adds groovy threads and the improbably cast Michael Shannon as Elvis. A character actor who has powered into star roles partly through his ominous charisma, Mr. Shannon makes no physical sense as Elvis Presley, even when wearing the familiar royal armor — the rings flashing like gold-plated brass knuckles, the sculptured hair, the cute revolver strapped to a pale ankle. The casting feels so incongruous that it’s distracting — until, that is, you realize that Mr. Shannon is the only one that you’re paying attention to, the only one you want to look at. Some biographical portraits summon up the dead with uncanny or suggestive facial, vocal and gestural resemblances between the original and copy; others just pull out the wigs and clichés. (The HBO show “Vinyl,” about the 1970s New York music scene, is a hit parade of bad pastiche.) As Elvis, Mr. Shannon doesn’t deliver a performance that’s a triumph of technical virtuosity along the lines of Meryl Streep’s eerie reanimation of Julia Child in “Julie & Julia”; it isn’t even a halfway decent Elvis impersonation. It is instead a performance of stardom by an actor whose own magnetism trumps every objection, much as the real Presley transcends every jibe, jumpsuit and downward turn. By the time Kevin Spacey scuttles in as Nixon, all hunched shoulders and crablike motion, you have spent too much time watching the filmmakers pad the movie, including via Elvis’s dull friend Jerry (Alex Pettyfer). (The script is by Joey Sagal, Hanala Sagal and Cary Elwes.) Despite Mr. Shannon and Mr. Spacey, who appear to be having a fine time working off each other, the meeting is anticlimactic. It’s also too short and straight. Instead of extending the conclave, turning each Elvis-Nixon minute into a time-expanded mind-bender, the filmmakers make it another act. They treat the encounter like history when it seems to have been little more than a mutual delusion. “Elvis & Nixon” is rated R (Under 17 requires accompanying parent or adult guardian). Suspicious and dirty minds. Running time: 1 hour, 27 minutes.` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `video_url` will be updated with value `https://vimeo.com/118395` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

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[16:32:36] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `include_document` will be updated with value `1` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `video_synposis` will be updated with value `On Dec. 21, 1970, one of the most popular men in the world met one who would soon be among the more loathed, shaking hands and trading small talk. During this weird Oval Office summit, Elvis Presley (the beloved) trash-talked the Beatles as un-American and Richard M. Nixon (the other guy) handed out souvenirs to the King’s courtiers. Nixon didn’t write about this encounter in his memoirs, but a photograph of him smiling while shaking hands with Presley is the most requested item from the National Archives — a bigger hit than even the Constitution or the Bill of Rights. It was an improbable meeting of suspicious minds, instigated by Presley’s desire to be a “federal agent at large,” which would give him a badge that, Priscilla Presley later wrote, he thought would allow him to travel freely with guns and drugs. Presley personally delivered his request, handwritten on American Airlines stationery, to the White House, and a presidential aide pitched the get-together to the chief of staff, H. R. Haldeman: “If the president wants to meet with some bright young people outside of the government, Presley might be a perfect one to start with.” Mr. Haldeman was dubious. “You must be kidding,” he scribbled on the letter, though he did sign off on the visit. The meeting ran as long as 30 minutes if the presidential diaries are to be trusted. Not much happened. Presley gave Nixon a commemorative World War II Colt .45 mounted in a display case, and Nixon admired Presley’s cuff links. Presley also hugged Nixon. In his notes on the appointment, a White House assistant deputy, Egil Krogh, wrote that Presley, in a “very emotional manner,” told Nixon that he was on the president’s side, wanted to be helpful and restore some respect for the flag “which was being lost.” Presley, Mr. Krogh wrote, also said that he was “just a poor boy from Tennessee who had gotten a lot from his country, which in some way he wanted to repay.” Directed by Liza Johnson, “Elvis & Nixon,” a fictionalized take on the face-to-face, doesn’t add much to this rundown; mostly it adds groovy threads and the improbably cast Michael Shannon as Elvis. A character actor who has powered into star roles partly through his ominous charisma, Mr. Shannon makes no physical sense as Elvis Presley, even when wearing the familiar royal armor — the rings flashing like gold-plated brass knuckles, the sculptured hair, the cute revolver strapped to a pale ankle. The casting feels so incongruous that it’s distracting — until, that is, you realize that Mr. Shannon is the only one that you’re paying attention to, the only one you want to look at. Some biographical portraits summon up the dead with uncanny or suggestive facial, vocal and gestural resemblances between the original and copy; others just pull out the wigs and clichés. (The HBO show “Vinyl,” about the 1970s New York music scene, is a hit parade of bad pastiche.) As Elvis, Mr. Shannon doesn’t deliver a performance that’s a triumph of technical virtuosity along the lines of Meryl Streep’s eerie reanimation of Julia Child in “Julie & Julia”; it isn’t even a halfway decent Elvis impersonation. It is instead a performance of stardom by an actor whose own magnetism trumps every objection, much as the real Presley transcends every jibe, jumpsuit and downward turn. By the time Kevin Spacey scuttles in as Nixon, all hunched shoulders and crablike motion, you have spent too much time watching the filmmakers pad the movie, including via Elvis’s dull friend Jerry (Alex Pettyfer). (The script is by Joey Sagal, Hanala Sagal and Cary Elwes.) Despite Mr. Shannon and Mr. Spacey, who appear to be having a fine time working off each other, the meeting is anticlimactic. It’s also too short and straight. Instead of extending the conclave, turning each Elvis-Nixon minute into a time-expanded mind-bender, the filmmakers make it another act. They treat the encounter like history when it seems to have been little more than a mutual delusion. “Elvis & Nixon” is rated R (Under 17 requires accompanying parent or adult guardian). Suspicious and dirty minds. Running time: 1 hour, 27 minutes.` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `On Dec. 21, 1970, one of the most popular men in the world met one who would soon be among the more loathed, shaking hands and trading small talk. During this weird Oval Office summit, Elvis Presley (the beloved) trash-talked the Beatles as un-American and Richard M. Nixon (the other guy) handed out souvenirs to the King’s courtiers. Nixon didn’t write about this encounter in his memoirs, but a photograph of him smiling while shaking hands with Presley is the most requested item from the National Archives — a bigger hit than even the Constitution or the Bill of Rights. It was an improbable meeting of suspicious minds, instigated by Presley’s desire to be a “federal agent at large,” which would give him a badge that, Priscilla Presley later wrote, he thought would allow him to travel freely with guns and drugs. Presley personally delivered his request, handwritten on American Airlines stationery, to the White House, and a presidential aide pitched the get-together to the chief of staff, H. R. Haldeman: “If the president wants to meet with some bright young people outside of the government, Presley might be a perfect one to start with.” Mr. Haldeman was dubious. “You must be kidding,” he scribbled on the letter, though he did sign off on the visit. The meeting ran as long as 30 minutes if the presidential diaries are to be trusted. Not much happened. Presley gave Nixon a commemorative World War II Colt .45 mounted in a display case, and Nixon admired Presley’s cuff links. Presley also hugged Nixon. In his notes on the appointment, a White House assistant deputy, Egil Krogh, wrote that Presley, in a “very emotional manner,” told Nixon that he was on the president’s side, wanted to be helpful and restore some respect for the flag “which was being lost.” Presley, Mr. Krogh wrote, also said that he was “just a poor boy from Tennessee who had gotten a lot from his country, which in some way he wanted to repay.” Directed by Liza Johnson, “Elvis & Nixon,” a fictionalized take on the face-to-face, doesn’t add much to this rundown; mostly it adds groovy threads and the improbably cast Michael Shannon as Elvis. A character actor who has powered into star roles partly through his ominous charisma, Mr. Shannon makes no physical sense as Elvis Presley, even when wearing the familiar royal armor — the rings flashing like gold-plated brass knuckles, the sculptured hair, the cute revolver strapped to a pale ankle. The casting feels so incongruous that it’s distracting — until, that is, you realize that Mr. Shannon is the only one that you’re paying attention to, the only one you want to look at. Some biographical portraits summon up the dead with uncanny or suggestive facial, vocal and gestural resemblances between the original and copy; others just pull out the wigs and clichés. (The HBO show “Vinyl,” about the 1970s New York music scene, is a hit parade of bad pastiche.) As Elvis, Mr. Shannon doesn’t deliver a performance that’s a triumph of technical virtuosity along the lines of Meryl Streep’s eerie reanimation of Julia Child in “Julie & Julia”; it isn’t even a halfway decent Elvis impersonation. It is instead a performance of stardom by an actor whose own magnetism trumps every objection, much as the real Presley transcends every jibe, jumpsuit and downward turn. By the time Kevin Spacey scuttles in as Nixon, all hunched shoulders and crablike motion, you have spent too much time watching the filmmakers pad the movie, including via Elvis’s dull friend Jerry (Alex Pettyfer). (The script is by Joey Sagal, Hanala Sagal and Cary Elwes.) Despite Mr. Shannon and Mr. Spacey, who appear to be having a fine time working off each other, the meeting is anticlimactic. It’s also too short and straight. Instead of extending the conclave, turning each Elvis-Nixon minute into a time-expanded mind-bender, the filmmakers make it another act. They treat the encounter like history when it seems to have been little more than a mutual delusion. “Elvis & Nixon” is rated R (Under 17 requires accompanying parent or adult guardian). Suspicious and dirty minds. Running time: 1 hour, 27 minutes.` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `document_synopsis` will be updated with value `` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

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[16:32:36] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

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[16:32:36] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Balto (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

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[16:32:36] ACTION: pmxi_saved_post

[16:32:36] ACTION: pmxi_after_post_import

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[16:32:36] Record #15

[16:32:36] ACTION: pmxi_before_post_import ...

[16:32:36] Combine all data for post `Nixon (1995)`...

[16:32:36] Find corresponding article among previously imported for post `Nixon (1995)`...

[16:32:36] Duplicate post wasn't found with unique key `1707`...

[16:32:36] Applying filter `pmxi_article_data` for `Nixon (1995)`

[16:32:36] CREATING `Nixon (1995)` `Resource`

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[16:32:36] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Nixon (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

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[16:32:36] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Nixon (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

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[16:32:36] - ACTION: pmxi_custom_field

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[16:32:36] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Nixon (1995)` ...

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[16:32:36] - Custom field `include_video` will be updated with value `1` for post `Nixon (1995)` ...

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[16:32:36] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Nixon (1995)` ...

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[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Nixon (1995)` ...

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[16:32:36] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `In 1964, when Eva Hesse went to Germany on a fellowship with her husband, the sculptor Tom Doyle, she was a talented 28-year-old painter with a blue-chip education (Cooper Union and Yale) and a foothold in the art world. By the time of her death six years later, from brain cancer, she was widely recognized as a major artist, a maker of category-confounding forms — abstract and visceral, minimalist and feminist, sculptural and painterly — that have lost none of their power in the decades since. “Eva Hesse,” Marcie Begleiter’s conscientious and moving documentary, tells the full story of its subject’s tragically foreshortened life, but it focuses on those years of artistic emergence, a period of rapid development and furious productivity, with few parallels in the history of art. Hesse herself is both a ubiquitous presence in the film and something of a specter — an animating spirit and a ghost haunting the frames. She is remembered by friends, colleagues and her sister, Helen Hesse Charash. Her work is analyzed by curators and critics. Mr. Doyle is on hand to reflect, tactfully and ruefully, on the ups and downs of their relationship. Everyone is middle-aged or older, mostly dressed in 21st-century studio or academic mufti. Hesse, in contrast, is a revenant from a cooler, smokier, scruffier decade, eternally and intriguingly youthful. At times resembling the actress Dakota Johnson, she appears mainly in black-and-white still photographs, some of which are digitally massaged so that they seem to move ever so slightly. Her voice is heard once, in a snippet of audiotape. But Ms. Begleiter has made ample and judicious use of Hesse’s letters and diaries, passages of which are read in voice-over by Selma Blair. These selections, along with the pictures, create a powerful illusion of immediacy, a sense of the personality disclosed and obscured by the art. Like many creative people, Hesse veered from heroic confidence to crippling doubt, but in every phase, she seemed capable of remarkable clarity, humor and warmth. Among her closest confidants was Sol LeWitt, the scholarly, sphinxlike Conceptualist visionary who was the subject of an excellent documentary by Chris Teerink a few years ago. Their correspondence is clearly a remarkable trove of art world gossip, fraternal feeling and critical insight, and it provides this film its emotional and intellectual grounding. (LeWitt’s parts are read by the actor Patrick Kennedy.) But the drama of “Eva Hesse” is a story of mastery and self-discovery, of a woman asserting her autonomy in a male-dominated professional realm. Hesse was born to a Jewish family in Hamburg in 1936. She and her sister left Germany on a Kindertransport train. Their parents managed to escape the Nazis as well, but many of their relatives were killed during World War II, and the girls’ mother committed suicide in 1946. Though the Holocaust was never an overt theme in Hesse’s work, Ms. Begleiter traces the shadow it cast on her life, especially during her sojourn in Germany with Mr. Doyle. The film is frank about Hesse’s personal life without being prurient, and it conveys a vivid sense of the sexual politics of the New York art world in the 1960s, a scene still dominated by the myth of the heroic male creator. Hesse’s response was to cultivate her own heroism, a powerfully idiosyncratic style that could be earthy, delicate, whimsical and sublime, sometimes all at once. “Eva Hesse” pays a gratifying amount of attention to the thinking and the techniques that produced her art, and invites viewers to contemplate it further. It’s like a comprehensive exhibition catalog or a thorough critical essay — an indispensable aid to understanding and appreciating a fascinating artist. “Eva Hesse” is not rated. Running time: 1 hour 48 minutes.` for post `Nixon (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

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[16:32:36] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Nixon (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Nixon (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Nixon (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `video_url` will be updated with value `https://vimeo.com/131512` for post `Nixon (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Nixon (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Nixon (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Nixon (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `include_document` will be updated with value `1` for post `Nixon (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `video_synposis` will be updated with value `In 1964, when Eva Hesse went to Germany on a fellowship with her husband, the sculptor Tom Doyle, she was a talented 28-year-old painter with a blue-chip education (Cooper Union and Yale) and a foothold in the art world. By the time of her death six years later, from brain cancer, she was widely recognized as a major artist, a maker of category-confounding forms — abstract and visceral, minimalist and feminist, sculptural and painterly — that have lost none of their power in the decades since. “Eva Hesse,” Marcie Begleiter’s conscientious and moving documentary, tells the full story of its subject’s tragically foreshortened life, but it focuses on those years of artistic emergence, a period of rapid development and furious productivity, with few parallels in the history of art. Hesse herself is both a ubiquitous presence in the film and something of a specter — an animating spirit and a ghost haunting the frames. She is remembered by friends, colleagues and her sister, Helen Hesse Charash. Her work is analyzed by curators and critics. Mr. Doyle is on hand to reflect, tactfully and ruefully, on the ups and downs of their relationship. Everyone is middle-aged or older, mostly dressed in 21st-century studio or academic mufti. Hesse, in contrast, is a revenant from a cooler, smokier, scruffier decade, eternally and intriguingly youthful. At times resembling the actress Dakota Johnson, she appears mainly in black-and-white still photographs, some of which are digitally massaged so that they seem to move ever so slightly. Her voice is heard once, in a snippet of audiotape. But Ms. Begleiter has made ample and judicious use of Hesse’s letters and diaries, passages of which are read in voice-over by Selma Blair. These selections, along with the pictures, create a powerful illusion of immediacy, a sense of the personality disclosed and obscured by the art. Like many creative people, Hesse veered from heroic confidence to crippling doubt, but in every phase, she seemed capable of remarkable clarity, humor and warmth. Among her closest confidants was Sol LeWitt, the scholarly, sphinxlike Conceptualist visionary who was the subject of an excellent documentary by Chris Teerink a few years ago. Their correspondence is clearly a remarkable trove of art world gossip, fraternal feeling and critical insight, and it provides this film its emotional and intellectual grounding. (LeWitt’s parts are read by the actor Patrick Kennedy.) But the drama of “Eva Hesse” is a story of mastery and self-discovery, of a woman asserting her autonomy in a male-dominated professional realm. Hesse was born to a Jewish family in Hamburg in 1936. She and her sister left Germany on a Kindertransport train. Their parents managed to escape the Nazis as well, but many of their relatives were killed during World War II, and the girls’ mother committed suicide in 1946. Though the Holocaust was never an overt theme in Hesse’s work, Ms. Begleiter traces the shadow it cast on her life, especially during her sojourn in Germany with Mr. Doyle. The film is frank about Hesse’s personal life without being prurient, and it conveys a vivid sense of the sexual politics of the New York art world in the 1960s, a scene still dominated by the myth of the heroic male creator. Hesse’s response was to cultivate her own heroism, a powerfully idiosyncratic style that could be earthy, delicate, whimsical and sublime, sometimes all at once. “Eva Hesse” pays a gratifying amount of attention to the thinking and the techniques that produced her art, and invites viewers to contemplate it further. It’s like a comprehensive exhibition catalog or a thorough critical essay — an indispensable aid to understanding and appreciating a fascinating artist. “Eva Hesse” is not rated. Running time: 1 hour 48 minutes.` for post `Nixon (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

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[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `In 1964, when Eva Hesse went to Germany on a fellowship with her husband, the sculptor Tom Doyle, she was a talented 28-year-old painter with a blue-chip education (Cooper Union and Yale) and a foothold in the art world. By the time of her death six years later, from brain cancer, she was widely recognized as a major artist, a maker of category-confounding forms — abstract and visceral, minimalist and feminist, sculptural and painterly — that have lost none of their power in the decades since. “Eva Hesse,” Marcie Begleiter’s conscientious and moving documentary, tells the full story of its subject’s tragically foreshortened life, but it focuses on those years of artistic emergence, a period of rapid development and furious productivity, with few parallels in the history of art. Hesse herself is both a ubiquitous presence in the film and something of a specter — an animating spirit and a ghost haunting the frames. She is remembered by friends, colleagues and her sister, Helen Hesse Charash. Her work is analyzed by curators and critics. Mr. Doyle is on hand to reflect, tactfully and ruefully, on the ups and downs of their relationship. Everyone is middle-aged or older, mostly dressed in 21st-century studio or academic mufti. Hesse, in contrast, is a revenant from a cooler, smokier, scruffier decade, eternally and intriguingly youthful. At times resembling the actress Dakota Johnson, she appears mainly in black-and-white still photographs, some of which are digitally massaged so that they seem to move ever so slightly. Her voice is heard once, in a snippet of audiotape. But Ms. Begleiter has made ample and judicious use of Hesse’s letters and diaries, passages of which are read in voice-over by Selma Blair. These selections, along with the pictures, create a powerful illusion of immediacy, a sense of the personality disclosed and obscured by the art. Like many creative people, Hesse veered from heroic confidence to crippling doubt, but in every phase, she seemed capable of remarkable clarity, humor and warmth. Among her closest confidants was Sol LeWitt, the scholarly, sphinxlike Conceptualist visionary who was the subject of an excellent documentary by Chris Teerink a few years ago. Their correspondence is clearly a remarkable trove of art world gossip, fraternal feeling and critical insight, and it provides this film its emotional and intellectual grounding. (LeWitt’s parts are read by the actor Patrick Kennedy.) But the drama of “Eva Hesse” is a story of mastery and self-discovery, of a woman asserting her autonomy in a male-dominated professional realm. Hesse was born to a Jewish family in Hamburg in 1936. She and her sister left Germany on a Kindertransport train. Their parents managed to escape the Nazis as well, but many of their relatives were killed during World War II, and the girls’ mother committed suicide in 1946. Though the Holocaust was never an overt theme in Hesse’s work, Ms. Begleiter traces the shadow it cast on her life, especially during her sojourn in Germany with Mr. Doyle. The film is frank about Hesse’s personal life without being prurient, and it conveys a vivid sense of the sexual politics of the New York art world in the 1960s, a scene still dominated by the myth of the heroic male creator. Hesse’s response was to cultivate her own heroism, a powerfully idiosyncratic style that could be earthy, delicate, whimsical and sublime, sometimes all at once. “Eva Hesse” pays a gratifying amount of attention to the thinking and the techniques that produced her art, and invites viewers to contemplate it further. It’s like a comprehensive exhibition catalog or a thorough critical essay — an indispensable aid to understanding and appreciating a fascinating artist. “Eva Hesse” is not rated. Running time: 1 hour 48 minutes.` for post `Nixon (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

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[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `document_synopsis` will be updated with value `` for post `Nixon (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Nixon (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

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[16:32:36] ACTION: pmxi_after_post_import

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[16:32:36] Record #16

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[16:32:36] Combine all data for post `Cutthroat Island (1995)`...

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[16:32:36] CREATING `Cutthroat Island (1995)` `Resource`

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[16:32:36] CUSTOM FIELDS:

[16:32:36] - ACTION: pmxi_custom_field

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[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Cutthroat Island (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Cutthroat Island (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

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[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Cutthroat Island (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Cutthroat Island (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

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[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Cutthroat Island (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

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[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Cutthroat Island (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `“I’d like to be for cinema what William Shakespeare was for theater, Marx for politics, and Freud for psychology,” the German director Rainer Werner Fassbinder is quoted as having said in the Danish director Christian Braad Thomsen’s documentary study, “Fassbinder: To Love Without Demands.” Fassbinder, who died in 1982 at 37, was an extreme workhorse whose stupendous output — more than 60 films and two television series, not to mention plays — was accomplished with little sleep and an indifference to his physical well-being. Copious drugs and alcohol were consumed to keep up the pace. Mr. Thomsen, who directed this reverent tribute, met Fassbinder in 1969 at the Berlin International Film Festival, where his early movie “Love Is Colder Than Death” was booed. Fassbinder, unruffled, dismissed the Berlin critics as “provincials” and remarked, “At least they reacted.” Over the coming years, Mr. Thomsen interviewed the director and became a close friend. The access to Fassbinder that the relationship provided was a boon to the film, but a disadvantage as well because the close-up view results in a patchy portrait rather than a coherent biography. The documentary assumes a familiarity with Fassbinder’s movies that few American viewers possess. There is no film-by-film analysis of his major works, which include “The Marriage of Maria Braun” and “Berlin Alexanderplatz,” or the connection from one to the next. What is emphasized is Fassbinder’s obsession with family. The film examines him through a Freudian lens, paying special attention to his mother, Lilo Pempeit, who appeared in many of his films and whose voice is heard in audio interviews. After World War II, Fassbinder was brought up in Munich by an ever-changing group of adults who lived in a house in which he enjoyed almost unlimited freedom. As his career developed, his filmmaking colleagues and troupe of actors became a surrogate family. The film is divided into chapters — with titles like “Childhood,” “The Actors,” “Sadomasochism” and “Death” — that create a semblance of structure. Fassbinder had ambivalent feelings about Hollywood and abhorred sentimentality. Of the many directors Fassbinder admired, Mr. Thomsen says, the closest thing to an idol was Douglas Sirk (born Klaus Detlef Sierck in Hamburg) who used Hollywood conventions only to subvert them in movies like “Imitation of Life,” a film with soap-opera theatrics that disguised an underlying social critique. Fassbinder’s changing politics are mentioned, but in bits and pieces, with little effort made to tie everything into a consistent theory. Among the actors interviewed, the most time is given to Irm Hermann, who describes Fassbinder’s abusive, authoritarian control over her. Other actors featured in Fassbinder films, especially Hanna Schygulla, are seen in clips, but are not interviewed. In the chapter “Sadomasochism,” any details of sexual tastes are missing, as are references to his lovers, most of them male, although the movie notes that three of them committed suicide. In Fassbinder’s last five years, the documentary says, he lost his trust in the idea of community and decided that the world was crazy and could not be changed except into “a kind of personal madness.” This frustrating if intriguing film suggests that Fassbinder did the same, but indirectly. He died of overwork. There is a tumultuous story left untold. “Fassbinder: To Love Without Demands” is not rated. It is in English and German, with English subtitles. Running time: 1 hour 49 minutes.` for post `Cutthroat Island (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Cutthroat Island (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

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[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Cutthroat Island (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `video_url` will be updated with value `https://vimeo.com/133948` for post `Cutthroat Island (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Cutthroat Island (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

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[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Cutthroat Island (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

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[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `video_synposis` will be updated with value `“I’d like to be for cinema what William Shakespeare was for theater, Marx for politics, and Freud for psychology,” the German director Rainer Werner Fassbinder is quoted as having said in the Danish director Christian Braad Thomsen’s documentary study, “Fassbinder: To Love Without Demands.” Fassbinder, who died in 1982 at 37, was an extreme workhorse whose stupendous output — more than 60 films and two television series, not to mention plays — was accomplished with little sleep and an indifference to his physical well-being. Copious drugs and alcohol were consumed to keep up the pace. Mr. Thomsen, who directed this reverent tribute, met Fassbinder in 1969 at the Berlin International Film Festival, where his early movie “Love Is Colder Than Death” was booed. Fassbinder, unruffled, dismissed the Berlin critics as “provincials” and remarked, “At least they reacted.” Over the coming years, Mr. Thomsen interviewed the director and became a close friend. The access to Fassbinder that the relationship provided was a boon to the film, but a disadvantage as well because the close-up view results in a patchy portrait rather than a coherent biography. The documentary assumes a familiarity with Fassbinder’s movies that few American viewers possess. There is no film-by-film analysis of his major works, which include “The Marriage of Maria Braun” and “Berlin Alexanderplatz,” or the connection from one to the next. What is emphasized is Fassbinder’s obsession with family. The film examines him through a Freudian lens, paying special attention to his mother, Lilo Pempeit, who appeared in many of his films and whose voice is heard in audio interviews. After World War II, Fassbinder was brought up in Munich by an ever-changing group of adults who lived in a house in which he enjoyed almost unlimited freedom. As his career developed, his filmmaking colleagues and troupe of actors became a surrogate family. The film is divided into chapters — with titles like “Childhood,” “The Actors,” “Sadomasochism” and “Death” — that create a semblance of structure. Fassbinder had ambivalent feelings about Hollywood and abhorred sentimentality. Of the many directors Fassbinder admired, Mr. Thomsen says, the closest thing to an idol was Douglas Sirk (born Klaus Detlef Sierck in Hamburg) who used Hollywood conventions only to subvert them in movies like “Imitation of Life,” a film with soap-opera theatrics that disguised an underlying social critique. Fassbinder’s changing politics are mentioned, but in bits and pieces, with little effort made to tie everything into a consistent theory. Among the actors interviewed, the most time is given to Irm Hermann, who describes Fassbinder’s abusive, authoritarian control over her. Other actors featured in Fassbinder films, especially Hanna Schygulla, are seen in clips, but are not interviewed. In the chapter “Sadomasochism,” any details of sexual tastes are missing, as are references to his lovers, most of them male, although the movie notes that three of them committed suicide. In Fassbinder’s last five years, the documentary says, he lost his trust in the idea of community and decided that the world was crazy and could not be changed except into “a kind of personal madness.” This frustrating if intriguing film suggests that Fassbinder did the same, but indirectly. He died of overwork. There is a tumultuous story left untold. “Fassbinder: To Love Without Demands” is not rated. It is in English and German, with English subtitles. Running time: 1 hour 49 minutes.` for post `Cutthroat Island (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

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[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `“I’d like to be for cinema what William Shakespeare was for theater, Marx for politics, and Freud for psychology,” the German director Rainer Werner Fassbinder is quoted as having said in the Danish director Christian Braad Thomsen’s documentary study, “Fassbinder: To Love Without Demands.” Fassbinder, who died in 1982 at 37, was an extreme workhorse whose stupendous output — more than 60 films and two television series, not to mention plays — was accomplished with little sleep and an indifference to his physical well-being. Copious drugs and alcohol were consumed to keep up the pace. Mr. Thomsen, who directed this reverent tribute, met Fassbinder in 1969 at the Berlin International Film Festival, where his early movie “Love Is Colder Than Death” was booed. Fassbinder, unruffled, dismissed the Berlin critics as “provincials” and remarked, “At least they reacted.” Over the coming years, Mr. Thomsen interviewed the director and became a close friend. The access to Fassbinder that the relationship provided was a boon to the film, but a disadvantage as well because the close-up view results in a patchy portrait rather than a coherent biography. The documentary assumes a familiarity with Fassbinder’s movies that few American viewers possess. There is no film-by-film analysis of his major works, which include “The Marriage of Maria Braun” and “Berlin Alexanderplatz,” or the connection from one to the next. What is emphasized is Fassbinder’s obsession with family. The film examines him through a Freudian lens, paying special attention to his mother, Lilo Pempeit, who appeared in many of his films and whose voice is heard in audio interviews. After World War II, Fassbinder was brought up in Munich by an ever-changing group of adults who lived in a house in which he enjoyed almost unlimited freedom. As his career developed, his filmmaking colleagues and troupe of actors became a surrogate family. The film is divided into chapters — with titles like “Childhood,” “The Actors,” “Sadomasochism” and “Death” — that create a semblance of structure. Fassbinder had ambivalent feelings about Hollywood and abhorred sentimentality. Of the many directors Fassbinder admired, Mr. Thomsen says, the closest thing to an idol was Douglas Sirk (born Klaus Detlef Sierck in Hamburg) who used Hollywood conventions only to subvert them in movies like “Imitation of Life,” a film with soap-opera theatrics that disguised an underlying social critique. Fassbinder’s changing politics are mentioned, but in bits and pieces, with little effort made to tie everything into a consistent theory. Among the actors interviewed, the most time is given to Irm Hermann, who describes Fassbinder’s abusive, authoritarian control over her. Other actors featured in Fassbinder films, especially Hanna Schygulla, are seen in clips, but are not interviewed. In the chapter “Sadomasochism,” any details of sexual tastes are missing, as are references to his lovers, most of them male, although the movie notes that three of them committed suicide. In Fassbinder’s last five years, the documentary says, he lost his trust in the idea of community and decided that the world was crazy and could not be changed except into “a kind of personal madness.” This frustrating if intriguing film suggests that Fassbinder did the same, but indirectly. He died of overwork. There is a tumultuous story left untold. “Fassbinder: To Love Without Demands” is not rated. It is in English and German, with English subtitles. Running time: 1 hour 49 minutes.` for post `Cutthroat Island (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

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[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

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[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Cutthroat Island (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

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[16:32:36] Record #17

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[16:32:36] Combine all data for post `Casino (1995)`...

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[16:32:36] Applying filter `pmxi_article_data` for `Casino (1995)`

[16:32:36] CREATING `Casino (1995)` `Resource`

[16:32:36] Associate post `Casino (1995)` with current import ...

[16:32:36] CUSTOM FIELDS:

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `include_video` will be updated with value `1` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `In the opening scene of “Green Room,” the members of the Ain’t Rights, a punk band from the East Coast, wake up in a cornfield somewhere in the Pacific Northwest. The driver fell asleep at the wheel, the van is out of gas, and the hassles escalate after that. A promised gig falls through, a podcast interview becomes a little awkward, and the group’s corporate assets, not counting the van and the gear inside it, add up to around $25 and a few takeout containers of rice and beans. Things will only get worse. There will be guns, machetes, dogs trained to gobble human flesh, and a forest full of scary homegrown fascists. But before all of that — before “Green Room,” written and directed by Jeremy Saulnier, puts its genre cards on the table and turns into a tense and nasty siege movie — the plight of the Ain’t Rights has a scruffy comic flavor. We could be watching a web series or a spindly indie about four young people (played by Alia Shawkat, Anton Yelchin, Callum Turner and Joe Cole) at loose ends who meet up with a series of rough but also kind of interesting characters. The Ain’ts are hardly innocent: Their touring vehicle runs on fuel siphoned from parked cars. But there is something touching about their devotion to one another and to the dogmas and rhythms of punk rock. It has been around for much longer than any of them. Though “Green Room” takes place in the smartphone-enabled present and assembles a cast of talented millennials, it explores a venerable subcultural terrain. Booked to play a show at a remote roadhouse whose patrons are skinheads — the place is decorated with SS lightning bolts and Confederate flags — our heroes unleash a cover of the Dead Kennedys’ anthem insulting “Nazi punks,” a chestnut from 1981. Some in the crowd take the bait and toss bottles, extend their middle fingers or walk out. Others accept the insouciance of the gesture and dive into the mosh pit. The Ain’ts themselves may be disgusted with the audience, but not enough to refuse the club owner’s money. The ideological errors of young music fans aren’t really the point of “Green Room.” The political resurgence of white supremacy gives the movie a frisson of topicality, but extremism is less a theme than a conceit. Mr. Saulnier, whose previous color-coded exercise in mayhem was “Blue Ruin,” needed some detestable bad guys, and he chose well. The skinheads at the show are not just obnoxious racists. Many of them are part of a criminal network heavy into heroin, dog fighting and other bad stuff. The captain of this enterprise is a graybeard named Darcy, played by none other than Patrick Stewart. That inspired bit of casting is almost enough to inscribe “Green Room” alongside “Sexy Beast” in the pantheon of against-type British thespian screen villainy. Darcy, his voice an almost soothing growl, presents himself as a reasonable and practical man. His diplomatic skills are called upon when the Ain’ts witness some bad business backstage and need to be placated until they can be dealt with more permanently. This is when the guns, machetes and killer dogs come into play, and when Mr. Saulnier begins to show off his tactical chops. Once it becomes clear that the band can’t talk its way out of trouble, its members decide to fight back, with their bassist, Pat (Mr. Yelchin), and their guitarist, Sam (Ms. Shawkat), taking the lead, and a couple of less-than-fully-loyal skinheads (Mark Webber and Imogen Poots) playing backup. Once the violence starts, “Green Room” settles into horror movie logic, becoming steadily more gruesome and less terrifying as the body count grows. You know some people are going to die, and figuring out who and in what order feels more like a brainteaser than like a matter of deep moral or emotional concern. Which is cool and everything. Mr. Saulnier certainly could have done more, but he succeeds perfectly well within the limited terms he has set for himself. When the situation looks especially desperate, Pat offers a lesson drawn from a long-ago paintball match, the point of which is that the only way to defeat grimly determined professional warriors is with a defiantly playful, anarchic spirit. That’s a canonical punk-rock attitude, of course, even if it isn’t quite an adequate response to hate-based politics. Darcy likes to tell his young followers that “it’s not a party; it’s a movement.” But there’s no reason to take him seriously. “Green Room” is rated R (under 17 requires accompanying parent or adult guardian). “Punk ain’t no religious cult. Punk means thinking for yourself.” Running time: 1 hour 35 minutes.` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `video_url` will be updated with value `https://vimeo.com/134938` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `include_document` will be updated with value `1` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `video_synposis` will be updated with value `In the opening scene of “Green Room,” the members of the Ain’t Rights, a punk band from the East Coast, wake up in a cornfield somewhere in the Pacific Northwest. The driver fell asleep at the wheel, the van is out of gas, and the hassles escalate after that. A promised gig falls through, a podcast interview becomes a little awkward, and the group’s corporate assets, not counting the van and the gear inside it, add up to around $25 and a few takeout containers of rice and beans. Things will only get worse. There will be guns, machetes, dogs trained to gobble human flesh, and a forest full of scary homegrown fascists. But before all of that — before “Green Room,” written and directed by Jeremy Saulnier, puts its genre cards on the table and turns into a tense and nasty siege movie — the plight of the Ain’t Rights has a scruffy comic flavor. We could be watching a web series or a spindly indie about four young people (played by Alia Shawkat, Anton Yelchin, Callum Turner and Joe Cole) at loose ends who meet up with a series of rough but also kind of interesting characters. The Ain’ts are hardly innocent: Their touring vehicle runs on fuel siphoned from parked cars. But there is something touching about their devotion to one another and to the dogmas and rhythms of punk rock. It has been around for much longer than any of them. Though “Green Room” takes place in the smartphone-enabled present and assembles a cast of talented millennials, it explores a venerable subcultural terrain. Booked to play a show at a remote roadhouse whose patrons are skinheads — the place is decorated with SS lightning bolts and Confederate flags — our heroes unleash a cover of the Dead Kennedys’ anthem insulting “Nazi punks,” a chestnut from 1981. Some in the crowd take the bait and toss bottles, extend their middle fingers or walk out. Others accept the insouciance of the gesture and dive into the mosh pit. The Ain’ts themselves may be disgusted with the audience, but not enough to refuse the club owner’s money. The ideological errors of young music fans aren’t really the point of “Green Room.” The political resurgence of white supremacy gives the movie a frisson of topicality, but extremism is less a theme than a conceit. Mr. Saulnier, whose previous color-coded exercise in mayhem was “Blue Ruin,” needed some detestable bad guys, and he chose well. The skinheads at the show are not just obnoxious racists. Many of them are part of a criminal network heavy into heroin, dog fighting and other bad stuff. The captain of this enterprise is a graybeard named Darcy, played by none other than Patrick Stewart. That inspired bit of casting is almost enough to inscribe “Green Room” alongside “Sexy Beast” in the pantheon of against-type British thespian screen villainy. Darcy, his voice an almost soothing growl, presents himself as a reasonable and practical man. His diplomatic skills are called upon when the Ain’ts witness some bad business backstage and need to be placated until they can be dealt with more permanently. This is when the guns, machetes and killer dogs come into play, and when Mr. Saulnier begins to show off his tactical chops. Once it becomes clear that the band can’t talk its way out of trouble, its members decide to fight back, with their bassist, Pat (Mr. Yelchin), and their guitarist, Sam (Ms. Shawkat), taking the lead, and a couple of less-than-fully-loyal skinheads (Mark Webber and Imogen Poots) playing backup. Once the violence starts, “Green Room” settles into horror movie logic, becoming steadily more gruesome and less terrifying as the body count grows. You know some people are going to die, and figuring out who and in what order feels more like a brainteaser than like a matter of deep moral or emotional concern. Which is cool and everything. Mr. Saulnier certainly could have done more, but he succeeds perfectly well within the limited terms he has set for himself. When the situation looks especially desperate, Pat offers a lesson drawn from a long-ago paintball match, the point of which is that the only way to defeat grimly determined professional warriors is with a defiantly playful, anarchic spirit. That’s a canonical punk-rock attitude, of course, even if it isn’t quite an adequate response to hate-based politics. Darcy likes to tell his young followers that “it’s not a party; it’s a movement.” But there’s no reason to take him seriously. “Green Room” is rated R (under 17 requires accompanying parent or adult guardian). “Punk ain’t no religious cult. Punk means thinking for yourself.” Running time: 1 hour 35 minutes.` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `In the opening scene of “Green Room,” the members of the Ain’t Rights, a punk band from the East Coast, wake up in a cornfield somewhere in the Pacific Northwest. The driver fell asleep at the wheel, the van is out of gas, and the hassles escalate after that. A promised gig falls through, a podcast interview becomes a little awkward, and the group’s corporate assets, not counting the van and the gear inside it, add up to around $25 and a few takeout containers of rice and beans. Things will only get worse. There will be guns, machetes, dogs trained to gobble human flesh, and a forest full of scary homegrown fascists. But before all of that — before “Green Room,” written and directed by Jeremy Saulnier, puts its genre cards on the table and turns into a tense and nasty siege movie — the plight of the Ain’t Rights has a scruffy comic flavor. We could be watching a web series or a spindly indie about four young people (played by Alia Shawkat, Anton Yelchin, Callum Turner and Joe Cole) at loose ends who meet up with a series of rough but also kind of interesting characters. The Ain’ts are hardly innocent: Their touring vehicle runs on fuel siphoned from parked cars. But there is something touching about their devotion to one another and to the dogmas and rhythms of punk rock. It has been around for much longer than any of them. Though “Green Room” takes place in the smartphone-enabled present and assembles a cast of talented millennials, it explores a venerable subcultural terrain. Booked to play a show at a remote roadhouse whose patrons are skinheads — the place is decorated with SS lightning bolts and Confederate flags — our heroes unleash a cover of the Dead Kennedys’ anthem insulting “Nazi punks,” a chestnut from 1981. Some in the crowd take the bait and toss bottles, extend their middle fingers or walk out. Others accept the insouciance of the gesture and dive into the mosh pit. The Ain’ts themselves may be disgusted with the audience, but not enough to refuse the club owner’s money. The ideological errors of young music fans aren’t really the point of “Green Room.” The political resurgence of white supremacy gives the movie a frisson of topicality, but extremism is less a theme than a conceit. Mr. Saulnier, whose previous color-coded exercise in mayhem was “Blue Ruin,” needed some detestable bad guys, and he chose well. The skinheads at the show are not just obnoxious racists. Many of them are part of a criminal network heavy into heroin, dog fighting and other bad stuff. The captain of this enterprise is a graybeard named Darcy, played by none other than Patrick Stewart. That inspired bit of casting is almost enough to inscribe “Green Room” alongside “Sexy Beast” in the pantheon of against-type British thespian screen villainy. Darcy, his voice an almost soothing growl, presents himself as a reasonable and practical man. His diplomatic skills are called upon when the Ain’ts witness some bad business backstage and need to be placated until they can be dealt with more permanently. This is when the guns, machetes and killer dogs come into play, and when Mr. Saulnier begins to show off his tactical chops. Once it becomes clear that the band can’t talk its way out of trouble, its members decide to fight back, with their bassist, Pat (Mr. Yelchin), and their guitarist, Sam (Ms. Shawkat), taking the lead, and a couple of less-than-fully-loyal skinheads (Mark Webber and Imogen Poots) playing backup. Once the violence starts, “Green Room” settles into horror movie logic, becoming steadily more gruesome and less terrifying as the body count grows. You know some people are going to die, and figuring out who and in what order feels more like a brainteaser than like a matter of deep moral or emotional concern. Which is cool and everything. Mr. Saulnier certainly could have done more, but he succeeds perfectly well within the limited terms he has set for himself. When the situation looks especially desperate, Pat offers a lesson drawn from a long-ago paintball match, the point of which is that the only way to defeat grimly determined professional warriors is with a defiantly playful, anarchic spirit. That’s a canonical punk-rock attitude, of course, even if it isn’t quite an adequate response to hate-based politics. Darcy likes to tell his young followers that “it’s not a party; it’s a movement.” But there’s no reason to take him seriously. “Green Room” is rated R (under 17 requires accompanying parent or adult guardian). “Punk ain’t no religious cult. Punk means thinking for yourself.” Running time: 1 hour 35 minutes.` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `document_synopsis` will be updated with value `` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Casino (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

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[16:32:36] TAXONOMIES:

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[16:32:36] - Attempted to create parent Resource resource_category `Biblical`, duplicate detected. Importing Resource to existing `Biblical` resource_category, ID 667, slug `biblical` ...

[16:32:36] - Attempted to create parent Resource resource_category `Judges`, duplicate detected. Importing Resource to existing `Judges` resource_category, ID 677, slug `judges` ...

[16:32:36] - Attempted to create parent Resource resource_category `New testament`, duplicate detected. Importing Resource to existing `New testament` resource_category, ID 672, slug `new-testament` ...

[16:32:36] - Attempted to create parent Resource resource_category `Old testament`, duplicate detected. Importing Resource to existing `Old testament` resource_category, ID 670, slug `old-testament` ...

[16:32:36] - Attempted to create parent Resource resource_category `Timothy`, duplicate detected. Importing Resource to existing `Timothy` resource_category, ID 678, slug `timothy` ...

[16:32:36] - Importing taxonomy `video_contributor` ...

[16:32:36] - Importing taxonomy `document_contributor` ...

[16:32:36] CREATED `Casino (1995)` `Resource` (ID: 2344)

[16:32:36] ACTION: pmxi_saved_post

[16:32:36] ACTION: pmxi_after_post_import

[16:32:36] ---

[16:32:36] Record #18

[16:32:36] ACTION: pmxi_before_post_import ...

[16:32:36] Combine all data for post `Sense and Sensibility (1995)`...

[16:32:36] Find corresponding article among previously imported for post `Sense and Sensibility (1995)`...

[16:32:36] Duplicate post wasn't found with unique key `1710`...

[16:32:36] Applying filter `pmxi_article_data` for `Sense and Sensibility (1995)`

[16:32:36] CREATING `Sense and Sensibility (1995)` `Resource`

[16:32:36] Associate post `Sense and Sensibility (1995)` with current import ...

[16:32:36] CUSTOM FIELDS:

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Sense and Sensibility (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Sense and Sensibility (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Sense and Sensibility (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Sense and Sensibility (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Sense and Sensibility (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Sense and Sensibility (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `include_video` will be updated with value `1` for post `Sense and Sensibility (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Sense and Sensibility (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Sense and Sensibility (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Sense and Sensibility (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `Sunlight on rippling water, tanned bodies lounging by a swimming pool, brilliant sunshine in a deep-blue sky, endless summer. The canvases of the British painter, stage designer and photographer David Hockney, who settled in Los Angeles in the mid-1960s, are the visual-art equivalents of the Beach Boys’ records from the same period. They encapsulate the Southern California dream with a gorgeous simplicity that makes you want to drop everything and go west, grab a surfboard and paddle into the Pacific. As pictured in Randall Wright’s entertaining documentary biography of Mr. Hockney, 78 and still going strong, the paintings’ light is so dazzling that the pigment seems to glisten. Mr. Hockney recalls his attraction to Los Angeles in the film and sounds like an explorer who has discovered paradise. Of Southern California, he says, “It’s got all the energy of the United States but with the Mediterranean thrown in.” He adds that he didn’t think of it as a cultural desert because Hollywood was there, and he grew up loving the movies. “Los Angeles was three times better than I thought it would be,” he exclaims. It was another world from his dingy hometown, Bradford, England, where he was born to devoted parents who told their oddball son not to worry about what the neighbors thought. And he didn’t. After graduation from the Royal College of Art, he went to America because it was the capital of the art world and quickly found his place as a hybrid of pop artist and traditionalist. A Clairol ad persuaded him to dye his hair blond, which it remained. Many have remarked on his resemblance to his friend, Andy Warhol, although that name, strangely, isn’t mentioned in the film. Much of Mr. Hockney’s work was related to his homosexuality and dealt with his fantasies of surfers. “He was really like a high-school girl about it,” one friend remarks. One of the two important relationships examined in the film was with his first love, Peter Schlesinger, a handsome art student who was 19 when they met and who became his muse and frequent subject. It ended badly in the early ’70s. His crucial relationship wasn’t romantic but rather a profound friendship with the modern art historian, critic and curator Henry Geldzahler, whose death in 1994 left Mr. Hockney devastated. Like most of its subject’s art, “Hockney” is a sunny film that spends just enough time acknowledging the sadder aspects of his life to avoid sounding aggressively chipper. Its darkest shadow is the AIDS epidemic, which, Mr. Hockney said, claimed the lives of two-thirds of his friends and changed New York. Had they lived, he surmises, the city would still have a bohemia. When it deepens its intellectual focus, “Hockney” begins to lose coherence, with rushed sequences that cover his stage designs, his landscapes and his experiments with photography. As the film jumps from topic to topic, trusting that catchy sound bites will fill in gaps, you struggle to keep up with each chapter before the subject changes. Many erudite talking heads appear, but there is no satisfying overview of the artist and his complicated relationship to art history beyond the assertion that Pablo Picasso was his idol and that Mr. Hockney’s restless transformations reflected that admiration. “Hockney” is not rated. Running time: 1 hour 53 minutes.` for post `Sense and Sensibility (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Sense and Sensibility (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Sense and Sensibility (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Sense and Sensibility (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `video_url` will be updated with value `https://vimeo.com/136278` for post `Sense and Sensibility (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Sense and Sensibility (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

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[16:32:36] - Custom field `video_synposis` will be updated with value `Sunlight on rippling water, tanned bodies lounging by a swimming pool, brilliant sunshine in a deep-blue sky, endless summer. The canvases of the British painter, stage designer and photographer David Hockney, who settled in Los Angeles in the mid-1960s, are the visual-art equivalents of the Beach Boys’ records from the same period. They encapsulate the Southern California dream with a gorgeous simplicity that makes you want to drop everything and go west, grab a surfboard and paddle into the Pacific. As pictured in Randall Wright’s entertaining documentary biography of Mr. Hockney, 78 and still going strong, the paintings’ light is so dazzling that the pigment seems to glisten. Mr. Hockney recalls his attraction to Los Angeles in the film and sounds like an explorer who has discovered paradise. Of Southern California, he says, “It’s got all the energy of the United States but with the Mediterranean thrown in.” He adds that he didn’t think of it as a cultural desert because Hollywood was there, and he grew up loving the movies. “Los Angeles was three times better than I thought it would be,” he exclaims. It was another world from his dingy hometown, Bradford, England, where he was born to devoted parents who told their oddball son not to worry about what the neighbors thought. And he didn’t. After graduation from the Royal College of Art, he went to America because it was the capital of the art world and quickly found his place as a hybrid of pop artist and traditionalist. A Clairol ad persuaded him to dye his hair blond, which it remained. Many have remarked on his resemblance to his friend, Andy Warhol, although that name, strangely, isn’t mentioned in the film. Much of Mr. Hockney’s work was related to his homosexuality and dealt with his fantasies of surfers. “He was really like a high-school girl about it,” one friend remarks. One of the two important relationships examined in the film was with his first love, Peter Schlesinger, a handsome art student who was 19 when they met and who became his muse and frequent subject. It ended badly in the early ’70s. His crucial relationship wasn’t romantic but rather a profound friendship with the modern art historian, critic and curator Henry Geldzahler, whose death in 1994 left Mr. Hockney devastated. Like most of its subject’s art, “Hockney” is a sunny film that spends just enough time acknowledging the sadder aspects of his life to avoid sounding aggressively chipper. Its darkest shadow is the AIDS epidemic, which, Mr. Hockney said, claimed the lives of two-thirds of his friends and changed New York. Had they lived, he surmises, the city would still have a bohemia. When it deepens its intellectual focus, “Hockney” begins to lose coherence, with rushed sequences that cover his stage designs, his landscapes and his experiments with photography. As the film jumps from topic to topic, trusting that catchy sound bites will fill in gaps, you struggle to keep up with each chapter before the subject changes. Many erudite talking heads appear, but there is no satisfying overview of the artist and his complicated relationship to art history beyond the assertion that Pablo Picasso was his idol and that Mr. Hockney’s restless transformations reflected that admiration. “Hockney” is not rated. Running time: 1 hour 53 minutes.` for post `Sense and Sensibility (1995)` ...

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[16:32:36] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `The absurdist kick in “Keanu,” the first movie to showcase Keegan-Michael Key and Jordan Peele together, has a tiny tail and squeak. Beloved of crime lords and doofuses alike, Keanu the kitten shows up early, padding underfoot through one of those artfully staged drug labs — armed guards, white powder, ominous lighting — that’s soon lit up with the sights and sounds of heavy artillery. Much like the Buddhalicious star he’s named for, Keanu slips unscathed through the fast-and-furious raining bullets, miraculously dodging death as a heavenly chorus lays down an apocalyptic track. Kitten has skills. That’s the high-concept goof in “Keanu,” a 10-minute sketch that’s been inflated to bloated feature length. Running 90 minutes too long, the movie is a slack, erratically amusing excuse to watch Mr. Key and Mr. Peele tag-team after ending “Key & Peele,” their celebrated, often blazingly funny Comedy Central series that turned them into national memes. The road to Mr. Key and Mr. Peele’s future as movie headliners, though, will take more than kittens, guns and a riff on gangbangers head-bobbing to George Michael. What’s needed is a sharper, smarter edge, like the one they used on their show to lacerate pop-cultural and political targets; also, more and better jokes. The good news is that Mr. Key and Mr. Peele comfortably hold the big screen, whether they’re playing ordinary guys or imitating killers. The movie, which Mr. Peele wrote with the longtime “Key & Peele” contributor Alex Rubens, opens with the kitten running from the drug-lab shootout and landing at the door of Rell (Mr. Peele), who’s distraught after being dumped by his girlfriend. Like every man in the movie, Rell falls for the cat and — after rising from a miasma of pot smoke while flanked by posters for “New Jack City” and Michael Mann’s “Heat” — names his fluffy new friend Keanu. A new love is born, one that’s blessed by Rell’s cousin, Clarence (Mr. Key), if also nearly doomed. Things start cooking when Keanu disappears, forcing Rell and Clarence to play detective while chasing leads and kitten tail. They end up in a strip club, where women provide the topless decoration on and off the pole in a joint, bada bing, run by a gangster, Cheddar (Method Man), and his gunslingers. (The flat-liner here is that the crew calls itself the 17th Street Blips, à la the Crips and the Bloods.) There, Rell and Clarence, latter-day Hardy Boys, pretend to be hard-core criminals, a quickie makeover that largely involves putting a swagger in their step, talking street (or like black extras in an exploitation flick) and punctuating their cartoonish braggadocio with R-rated filler. On their show, Mr. Key and Mr. Peele turned code switching into an aesthetic principle, most famously in their sketches involving President Obama (brilliantly channeled by Mr. Peele) and his Anger Translator, Luther (Mr. Key). In “Keanu,” once Rell and Clarence start hanging with Cheddar’s group, they swap their everyday speech (“good English”) for tougher, rougher talk and haphazard grammar. They drop their final “g’s,” sprinkle on the “ain’ts” and vamp like gangbangers. It’s a metamorphosis that sounds like conceptual gold, as Mr. Key and Mr. Peele — drawing from the comedy of masquerade and playing with racially coded speech and behavior — turn a pair of amusing milquetoasts who happen to be black into black stereotypes right out of central casting. Rell and Clarence are performing thuggery, at least at first, walking the bad-man walk and talking the talk while frantically looking for the exit. And despite the sluggish passages and hum of unease, it’s fun watching these performers play with clichés amid a guest visit from Anna Faris and the sight of Clarence’s minivan’s becoming a safe space for gangsta sharing and caring. (The director is Peter Atencio, another “Key & Peele” veteran.) But as the genre machinery chugs along, the bang-bang begins to overwhelm the movie, and the underlying critique gives way to a what-me-worry shrug. Keanu may be Rell and Clarence’s power animal. But he’s no match for Liam “Neesons,” the character whom Mr. Key and Mr. Peele named in honor of the Hollywood hepcat who explodes minds and bodies both. “Keanu” is rated R (Under 17 requires accompanying parent or adult guardian). Bang bang, bleep bleep. Running time: 1 hour 40 minutes.` for post `Four Rooms (1995)` ...

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[16:32:36] - Custom field `video_synposis` will be updated with value `The absurdist kick in “Keanu,” the first movie to showcase Keegan-Michael Key and Jordan Peele together, has a tiny tail and squeak. Beloved of crime lords and doofuses alike, Keanu the kitten shows up early, padding underfoot through one of those artfully staged drug labs — armed guards, white powder, ominous lighting — that’s soon lit up with the sights and sounds of heavy artillery. Much like the Buddhalicious star he’s named for, Keanu slips unscathed through the fast-and-furious raining bullets, miraculously dodging death as a heavenly chorus lays down an apocalyptic track. Kitten has skills. That’s the high-concept goof in “Keanu,” a 10-minute sketch that’s been inflated to bloated feature length. Running 90 minutes too long, the movie is a slack, erratically amusing excuse to watch Mr. Key and Mr. Peele tag-team after ending “Key & Peele,” their celebrated, often blazingly funny Comedy Central series that turned them into national memes. The road to Mr. Key and Mr. Peele’s future as movie headliners, though, will take more than kittens, guns and a riff on gangbangers head-bobbing to George Michael. What’s needed is a sharper, smarter edge, like the one they used on their show to lacerate pop-cultural and political targets; also, more and better jokes. The good news is that Mr. Key and Mr. Peele comfortably hold the big screen, whether they’re playing ordinary guys or imitating killers. The movie, which Mr. Peele wrote with the longtime “Key & Peele” contributor Alex Rubens, opens with the kitten running from the drug-lab shootout and landing at the door of Rell (Mr. Peele), who’s distraught after being dumped by his girlfriend. Like every man in the movie, Rell falls for the cat and — after rising from a miasma of pot smoke while flanked by posters for “New Jack City” and Michael Mann’s “Heat” — names his fluffy new friend Keanu. A new love is born, one that’s blessed by Rell’s cousin, Clarence (Mr. Key), if also nearly doomed. Things start cooking when Keanu disappears, forcing Rell and Clarence to play detective while chasing leads and kitten tail. They end up in a strip club, where women provide the topless decoration on and off the pole in a joint, bada bing, run by a gangster, Cheddar (Method Man), and his gunslingers. (The flat-liner here is that the crew calls itself the 17th Street Blips, à la the Crips and the Bloods.) There, Rell and Clarence, latter-day Hardy Boys, pretend to be hard-core criminals, a quickie makeover that largely involves putting a swagger in their step, talking street (or like black extras in an exploitation flick) and punctuating their cartoonish braggadocio with R-rated filler. On their show, Mr. Key and Mr. Peele turned code switching into an aesthetic principle, most famously in their sketches involving President Obama (brilliantly channeled by Mr. Peele) and his Anger Translator, Luther (Mr. Key). In “Keanu,” once Rell and Clarence start hanging with Cheddar’s group, they swap their everyday speech (“good English”) for tougher, rougher talk and haphazard grammar. They drop their final “g’s,” sprinkle on the “ain’ts” and vamp like gangbangers. It’s a metamorphosis that sounds like conceptual gold, as Mr. Key and Mr. Peele — drawing from the comedy of masquerade and playing with racially coded speech and behavior — turn a pair of amusing milquetoasts who happen to be black into black stereotypes right out of central casting. Rell and Clarence are performing thuggery, at least at first, walking the bad-man walk and talking the talk while frantically looking for the exit. And despite the sluggish passages and hum of unease, it’s fun watching these performers play with clichés amid a guest visit from Anna Faris and the sight of Clarence’s minivan’s becoming a safe space for gangsta sharing and caring. (The director is Peter Atencio, another “Key & Peele” veteran.) But as the genre machinery chugs along, the bang-bang begins to overwhelm the movie, and the underlying critique gives way to a what-me-worry shrug. Keanu may be Rell and Clarence’s power animal. But he’s no match for Liam “Neesons,” the character whom Mr. Key and Mr. Peele named in honor of the Hollywood hepcat who explodes minds and bodies both. “Keanu” is rated R (Under 17 requires accompanying parent or adult guardian). Bang bang, bleep bleep. Running time: 1 hour 40 minutes.` for post `Four Rooms (1995)` ...

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[16:32:36] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `The absurdist kick in “Keanu,” the first movie to showcase Keegan-Michael Key and Jordan Peele together, has a tiny tail and squeak. Beloved of crime lords and doofuses alike, Keanu the kitten shows up early, padding underfoot through one of those artfully staged drug labs — armed guards, white powder, ominous lighting — that’s soon lit up with the sights and sounds of heavy artillery. Much like the Buddhalicious star he’s named for, Keanu slips unscathed through the fast-and-furious raining bullets, miraculously dodging death as a heavenly chorus lays down an apocalyptic track. Kitten has skills. That’s the high-concept goof in “Keanu,” a 10-minute sketch that’s been inflated to bloated feature length. Running 90 minutes too long, the movie is a slack, erratically amusing excuse to watch Mr. Key and Mr. Peele tag-team after ending “Key & Peele,” their celebrated, often blazingly funny Comedy Central series that turned them into national memes. The road to Mr. Key and Mr. Peele’s future as movie headliners, though, will take more than kittens, guns and a riff on gangbangers head-bobbing to George Michael. What’s needed is a sharper, smarter edge, like the one they used on their show to lacerate pop-cultural and political targets; also, more and better jokes. The good news is that Mr. Key and Mr. Peele comfortably hold the big screen, whether they’re playing ordinary guys or imitating killers. The movie, which Mr. Peele wrote with the longtime “Key & Peele” contributor Alex Rubens, opens with the kitten running from the drug-lab shootout and landing at the door of Rell (Mr. Peele), who’s distraught after being dumped by his girlfriend. Like every man in the movie, Rell falls for the cat and — after rising from a miasma of pot smoke while flanked by posters for “New Jack City” and Michael Mann’s “Heat” — names his fluffy new friend Keanu. A new love is born, one that’s blessed by Rell’s cousin, Clarence (Mr. Key), if also nearly doomed. Things start cooking when Keanu disappears, forcing Rell and Clarence to play detective while chasing leads and kitten tail. They end up in a strip club, where women provide the topless decoration on and off the pole in a joint, bada bing, run by a gangster, Cheddar (Method Man), and his gunslingers. (The flat-liner here is that the crew calls itself the 17th Street Blips, à la the Crips and the Bloods.) There, Rell and Clarence, latter-day Hardy Boys, pretend to be hard-core criminals, a quickie makeover that largely involves putting a swagger in their step, talking street (or like black extras in an exploitation flick) and punctuating their cartoonish braggadocio with R-rated filler. On their show, Mr. Key and Mr. Peele turned code switching into an aesthetic principle, most famously in their sketches involving President Obama (brilliantly channeled by Mr. Peele) and his Anger Translator, Luther (Mr. Key). In “Keanu,” once Rell and Clarence start hanging with Cheddar’s group, they swap their everyday speech (“good English”) for tougher, rougher talk and haphazard grammar. They drop their final “g’s,” sprinkle on the “ain’ts” and vamp like gangbangers. It’s a metamorphosis that sounds like conceptual gold, as Mr. Key and Mr. Peele — drawing from the comedy of masquerade and playing with racially coded speech and behavior — turn a pair of amusing milquetoasts who happen to be black into black stereotypes right out of central casting. Rell and Clarence are performing thuggery, at least at first, walking the bad-man walk and talking the talk while frantically looking for the exit. And despite the sluggish passages and hum of unease, it’s fun watching these performers play with clichés amid a guest visit from Anna Faris and the sight of Clarence’s minivan’s becoming a safe space for gangsta sharing and caring. (The director is Peter Atencio, another “Key & Peele” veteran.) But as the genre machinery chugs along, the bang-bang begins to overwhelm the movie, and the underlying critique gives way to a what-me-worry shrug. Keanu may be Rell and Clarence’s power animal. But he’s no match for Liam “Neesons,” the character whom Mr. Key and Mr. Peele named in honor of the Hollywood hepcat who explodes minds and bodies both. “Keanu” is rated R (Under 17 requires accompanying parent or adult guardian). Bang bang, bleep bleep. Running time: 1 hour 40 minutes.` for post `Four Rooms (1995)` ...

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[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Four Rooms (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Four Rooms (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] IMAGES:

[16:32:36] TAXONOMIES:

[16:32:36] - Importing taxonomy `resource_category` ...

[16:32:36] - Attempted to create parent Resource resource_category `Biblical`, duplicate detected. Importing Resource to existing `Biblical` resource_category, ID 667, slug `biblical` ...

[16:32:36] - Attempted to create parent Resource resource_category `Judges`, duplicate detected. Importing Resource to existing `Judges` resource_category, ID 677, slug `judges` ...

[16:32:36] - Attempted to create parent Resource resource_category `Timothy`, duplicate detected. Importing Resource to existing `Timothy` resource_category, ID 678, slug `timothy` ...

[16:32:36] - Importing taxonomy `video_contributor` ...

[16:32:36] - Importing taxonomy `document_contributor` ...

[16:32:36] CREATED `Four Rooms (1995)` `Resource` (ID: 2346)

[16:32:36] ACTION: pmxi_saved_post

[16:32:36] ACTION: pmxi_after_post_import

[16:32:36] ---

[16:32:36] Record #20

[16:32:36] ACTION: pmxi_before_post_import ...

[16:32:36] Combine all data for post `Money Train (1995)`...

[16:32:36] Find corresponding article among previously imported for post `Money Train (1995)`...

[16:32:36] Duplicate post wasn't found with unique key `1712`...

[16:32:36] Applying filter `pmxi_article_data` for `Money Train (1995)`

[16:32:36] CREATING `Money Train (1995)` `Resource`

[16:32:36] Associate post `Money Train (1995)` with current import ...

[16:32:36] CUSTOM FIELDS:

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `include_video` will be updated with value `1` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `Everybody likes to spout grand-sounding ideas; no one likes to get into the messy area of carrying them out. A case in point: “Love Thy Nature,” an airy film by Sylvie Rokab that advocates redefining the relationship between humans and the natural world. Various theorists talk about the need to get away from the idea that people are supposed to subdue the Earth and toward the view that we are part of an interconnected planetary organism of sorts. The era of humans, we’re reminded, represents only a tiny fraction of Earth’s existence, and across those eons the planet has been continually evolving in ways that support a diversity of life. We need to figure out our place in this biosphere rather than try to conquer and exploit it. These ideas are presented via various talking heads and a narration read by Liam Neeson that represents “the voice of Sapiens,” while endless slow-motion footage of animals, plants and people rolls by. Hard realities, though, are nowhere to be found. Some of these experts like to talk in the “we”: “We’re starting to realize that we’re all kin, we’re all cousins,” Brian Swimme, a cosmologist, says in a segment that notes how much DNA humans share with trees. But who is this “we”? No one in this film acknowledges that a large number of humans deny global warming and still cheer the line “drill, baby, drill” when politicians hurl it. Even when it could be specific, “Love Thy Nature” isn’t. The idea of biomimicry — emulating proven solutions from the natural world to address human needs and problems — is discussed, but don’t expect many concrete examples. The film is useful enough as an introduction to such concepts, but it’s not willing to take on the difficult journey from theory to practice.` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `video_url` will be updated with value `https://vimeo.com/136717` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `include_document` will be updated with value `1` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `video_synposis` will be updated with value `Everybody likes to spout grand-sounding ideas; no one likes to get into the messy area of carrying them out. A case in point: “Love Thy Nature,” an airy film by Sylvie Rokab that advocates redefining the relationship between humans and the natural world. Various theorists talk about the need to get away from the idea that people are supposed to subdue the Earth and toward the view that we are part of an interconnected planetary organism of sorts. The era of humans, we’re reminded, represents only a tiny fraction of Earth’s existence, and across those eons the planet has been continually evolving in ways that support a diversity of life. We need to figure out our place in this biosphere rather than try to conquer and exploit it. These ideas are presented via various talking heads and a narration read by Liam Neeson that represents “the voice of Sapiens,” while endless slow-motion footage of animals, plants and people rolls by. Hard realities, though, are nowhere to be found. Some of these experts like to talk in the “we”: “We’re starting to realize that we’re all kin, we’re all cousins,” Brian Swimme, a cosmologist, says in a segment that notes how much DNA humans share with trees. But who is this “we”? No one in this film acknowledges that a large number of humans deny global warming and still cheer the line “drill, baby, drill” when politicians hurl it. Even when it could be specific, “Love Thy Nature” isn’t. The idea of biomimicry — emulating proven solutions from the natural world to address human needs and problems — is discussed, but don’t expect many concrete examples. The film is useful enough as an introduction to such concepts, but it’s not willing to take on the difficult journey from theory to practice.` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `Everybody likes to spout grand-sounding ideas; no one likes to get into the messy area of carrying them out. A case in point: “Love Thy Nature,” an airy film by Sylvie Rokab that advocates redefining the relationship between humans and the natural world. Various theorists talk about the need to get away from the idea that people are supposed to subdue the Earth and toward the view that we are part of an interconnected planetary organism of sorts. The era of humans, we’re reminded, represents only a tiny fraction of Earth’s existence, and across those eons the planet has been continually evolving in ways that support a diversity of life. We need to figure out our place in this biosphere rather than try to conquer and exploit it. These ideas are presented via various talking heads and a narration read by Liam Neeson that represents “the voice of Sapiens,” while endless slow-motion footage of animals, plants and people rolls by. Hard realities, though, are nowhere to be found. Some of these experts like to talk in the “we”: “We’re starting to realize that we’re all kin, we’re all cousins,” Brian Swimme, a cosmologist, says in a segment that notes how much DNA humans share with trees. But who is this “we”? No one in this film acknowledges that a large number of humans deny global warming and still cheer the line “drill, baby, drill” when politicians hurl it. Even when it could be specific, “Love Thy Nature” isn’t. The idea of biomimicry — emulating proven solutions from the natural world to address human needs and problems — is discussed, but don’t expect many concrete examples. The film is useful enough as an introduction to such concepts, but it’s not willing to take on the difficult journey from theory to practice.` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `document_synopsis` will be updated with value `` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] - ACTION: pmxi_custom_field

[16:32:36] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Money Train (1995)` ...

[16:32:36] - ACTION: pmxi_update_post_meta

[16:32:36] IMAGES:

[16:32:36] TAXONOMIES:

[16:32:36] - Importing taxonomy `resource_category` ...

[16:32:36] - Attempted to create parent Resource resource_category `History`, duplicate detected. Importing Resource to existing `History` resource_category, ID 679, slug `history` ...

[16:32:36] - Attempted to create parent Resource resource_category `Modernity`, duplicate detected. Importing Resource to existing `Modernity` resource_category, ID 681, slug `modernity` ...

[16:32:36] - Attempted to create parent Resource resource_category `Old testament`, duplicate detected. Importing Resource to existing `Old testament` resource_category, ID 670, slug `old-testament` ...

[16:32:36] - Attempted to create parent Resource resource_category `Timothy`, duplicate detected. Importing Resource to existing `Timothy` resource_category, ID 678, slug `timothy` ...

[16:32:36] - Importing taxonomy `video_contributor` ...

[16:32:36] - Importing taxonomy `document_contributor` ...

[16:32:36] CREATED `Money Train (1995)` `Resource` (ID: 2347)

[16:32:36] ACTION: pmxi_saved_post

[16:32:36] ACTION: pmxi_after_post_import

[16:32:37] ---

[16:32:37] Record #21

[16:32:37] ACTION: pmxi_before_post_import ...

[16:32:37] Combine all data for post `Get Shorty (1995)`...

[16:32:37] Find corresponding article among previously imported for post `Get Shorty (1995)`...

[16:32:37] Duplicate post wasn't found with unique key `1713`...

[16:32:37] Applying filter `pmxi_article_data` for `Get Shorty (1995)`

[16:32:37] CREATING `Get Shorty (1995)` `Resource`

[16:32:37] Associate post `Get Shorty (1995)` with current import ...

[16:32:37] CUSTOM FIELDS:

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_video` will be updated with value `1` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mostly based in the United States, perform as alter egos — aliens from the planet Peelander. Kengo calls himself Peelander-Yellow; his bassist and longtime friend Kotaro Tsukada, is Peelander-Red. Peelander-Green is seen on drums. In “Mad Tiger,” a slight, overextended documentary about these musicians, Red decides to call it quits and open a bar. The separation is initially amicable, but rifts soon threaten to unplug Peelander-Z’s amplifiers for good. In particular, Yellow struggles to find a rhythm with the new bassist (Purple, from the dark side of the planet). Yellow notes that making an audience happy is tough, and the main idea in “Mad Tiger” is that the group’s prankishness masks complex, longstanding friendships. Yellow, a shy former painter who hides behind his character, is easily wounded, and not because he once broke a tooth during a rolling high kick. The movie is obviously heartfelt, but the directors, Jonathan Yi and Michael Haertlein, never turn this motley crew into compelling characters. (The band’s personnel issues don’t exactly amount to the breakup of the Beatles.) Nor is there much “This Is Spinal Tap”-style humor. “Mad Tiger” is entirely earnest in its affection, even when Red shows up at Purple’s first show, seriously irritating Yellow.` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_url` will be updated with value `https://vimeo.com/137026` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_document` will be updated with value `1` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_synposis` will be updated with value `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mostly based in the United States, perform as alter egos — aliens from the planet Peelander. Kengo calls himself Peelander-Yellow; his bassist and longtime friend Kotaro Tsukada, is Peelander-Red. Peelander-Green is seen on drums. In “Mad Tiger,” a slight, overextended documentary about these musicians, Red decides to call it quits and open a bar. The separation is initially amicable, but rifts soon threaten to unplug Peelander-Z’s amplifiers for good. In particular, Yellow struggles to find a rhythm with the new bassist (Purple, from the dark side of the planet). Yellow notes that making an audience happy is tough, and the main idea in “Mad Tiger” is that the group’s prankishness masks complex, longstanding friendships. Yellow, a shy former painter who hides behind his character, is easily wounded, and not because he once broke a tooth during a rolling high kick. The movie is obviously heartfelt, but the directors, Jonathan Yi and Michael Haertlein, never turn this motley crew into compelling characters. (The band’s personnel issues don’t exactly amount to the breakup of the Beatles.) Nor is there much “This Is Spinal Tap”-style humor. “Mad Tiger” is entirely earnest in its affection, even when Red shows up at Purple’s first show, seriously irritating Yellow.` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mostly based in the United States, perform as alter egos — aliens from the planet Peelander. Kengo calls himself Peelander-Yellow; his bassist and longtime friend Kotaro Tsukada, is Peelander-Red. Peelander-Green is seen on drums. In “Mad Tiger,” a slight, overextended documentary about these musicians, Red decides to call it quits and open a bar. The separation is initially amicable, but rifts soon threaten to unplug Peelander-Z’s amplifiers for good. In particular, Yellow struggles to find a rhythm with the new bassist (Purple, from the dark side of the planet). Yellow notes that making an audience happy is tough, and the main idea in “Mad Tiger” is that the group’s prankishness masks complex, longstanding friendships. Yellow, a shy former painter who hides behind his character, is easily wounded, and not because he once broke a tooth during a rolling high kick. The movie is obviously heartfelt, but the directors, Jonathan Yi and Michael Haertlein, never turn this motley crew into compelling characters. (The band’s personnel issues don’t exactly amount to the breakup of the Beatles.) Nor is there much “This Is Spinal Tap”-style humor. “Mad Tiger” is entirely earnest in its affection, even when Red shows up at Purple’s first show, seriously irritating Yellow.` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_synopsis` will be updated with value `` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Get Shorty (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] IMAGES:

[16:32:37] TAXONOMIES:

[16:32:37] - Importing taxonomy `resource_category` ...

[16:32:37] - Attempted to create parent Resource resource_category `Modernity`, duplicate detected. Importing Resource to existing `Modernity` resource_category, ID 681, slug `modernity` ...

[16:32:37] - Attempted to create parent Resource resource_category `Old testament`, duplicate detected. Importing Resource to existing `Old testament` resource_category, ID 670, slug `old-testament` ...

[16:32:37] - Attempted to create parent Resource resource_category `Revelation`, duplicate detected. Importing Resource to existing `Revelation` resource_category, ID 669, slug `revelation` ...

[16:32:37] - Importing taxonomy `video_contributor` ...

[16:32:37] - Importing taxonomy `document_contributor` ...

[16:32:37] CREATED `Get Shorty (1995)` `Resource` (ID: 2348)

[16:32:37] ACTION: pmxi_saved_post

[16:32:37] ACTION: pmxi_after_post_import

[16:32:37] ---

[16:32:37] Record #22

[16:32:37] ACTION: pmxi_before_post_import ...

[16:32:37] Combine all data for post `Copycat (1995)`...

[16:32:37] Find corresponding article among previously imported for post `Copycat (1995)`...

[16:32:37] Duplicate post wasn't found with unique key `1714`...

[16:32:37] Applying filter `pmxi_article_data` for `Copycat (1995)`

[16:32:37] CREATING `Copycat (1995)` `Resource`

[16:32:37] Associate post `Copycat (1995)` with current import ...

[16:32:37] CUSTOM FIELDS:

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_video` will be updated with value `1` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `An early scene in “Men & Chicken” shows the actor Mads Mikkelsen, with curly hair and a mustache, in the role of Elias, on an awkward date with a woman he met online. She says she is impressed that Elias made the date to begin with because her profile picture, which shows her in a wheelchair, has turned off other men. Expressing interest in her job as a psychiatrist, Elias describes a dream, one in which he rapes a bird of some sort. His date interjects questions; Elias responds with annoyance, questioning her competence as a therapist. He subsequently retires to the men’s room and begins to masturbate in a stall. Yes. “Men & Chicken” is that kind of movie. He’s interrupted by a phone call from his brother Gabriel (David Dencik), who tells Elias that their father has died. It’s even more of that kind of movie when Elias and Gabriel discover their dead father is not their real father. The comically dimwitted brothers trek to a remote Danish island, where they discover three more brothers, who are loath to let the interlopers see the patriarch. Slapstick violence collides with an air of rot, and for a time the movie feels like a cross between “The Texas Chainsaw Massacre” and a vintage Three Stooges short. And then there are the mutated chickens. All the weirdness is orchestrated with surprising understatement by the writer and director Anders Thomas Jensen, a well-established screenwriter and a bit of a cult figure, directorially, in his native land. The movie’s grave commitment to its own quirkiness is admirable, I suppose. But that doesn’t mean I’m going to recommend it.` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_url` will be updated with value `https://vimeo.com/138346` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_document` will be updated with value `1` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_synposis` will be updated with value `An early scene in “Men & Chicken” shows the actor Mads Mikkelsen, with curly hair and a mustache, in the role of Elias, on an awkward date with a woman he met online. She says she is impressed that Elias made the date to begin with because her profile picture, which shows her in a wheelchair, has turned off other men. Expressing interest in her job as a psychiatrist, Elias describes a dream, one in which he rapes a bird of some sort. His date interjects questions; Elias responds with annoyance, questioning her competence as a therapist. He subsequently retires to the men’s room and begins to masturbate in a stall. Yes. “Men & Chicken” is that kind of movie. He’s interrupted by a phone call from his brother Gabriel (David Dencik), who tells Elias that their father has died. It’s even more of that kind of movie when Elias and Gabriel discover their dead father is not their real father. The comically dimwitted brothers trek to a remote Danish island, where they discover three more brothers, who are loath to let the interlopers see the patriarch. Slapstick violence collides with an air of rot, and for a time the movie feels like a cross between “The Texas Chainsaw Massacre” and a vintage Three Stooges short. And then there are the mutated chickens. All the weirdness is orchestrated with surprising understatement by the writer and director Anders Thomas Jensen, a well-established screenwriter and a bit of a cult figure, directorially, in his native land. The movie’s grave commitment to its own quirkiness is admirable, I suppose. But that doesn’t mean I’m going to recommend it.` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `An early scene in “Men & Chicken” shows the actor Mads Mikkelsen, with curly hair and a mustache, in the role of Elias, on an awkward date with a woman he met online. She says she is impressed that Elias made the date to begin with because her profile picture, which shows her in a wheelchair, has turned off other men. Expressing interest in her job as a psychiatrist, Elias describes a dream, one in which he rapes a bird of some sort. His date interjects questions; Elias responds with annoyance, questioning her competence as a therapist. He subsequently retires to the men’s room and begins to masturbate in a stall. Yes. “Men & Chicken” is that kind of movie. He’s interrupted by a phone call from his brother Gabriel (David Dencik), who tells Elias that their father has died. It’s even more of that kind of movie when Elias and Gabriel discover their dead father is not their real father. The comically dimwitted brothers trek to a remote Danish island, where they discover three more brothers, who are loath to let the interlopers see the patriarch. Slapstick violence collides with an air of rot, and for a time the movie feels like a cross between “The Texas Chainsaw Massacre” and a vintage Three Stooges short. And then there are the mutated chickens. All the weirdness is orchestrated with surprising understatement by the writer and director Anders Thomas Jensen, a well-established screenwriter and a bit of a cult figure, directorially, in his native land. The movie’s grave commitment to its own quirkiness is admirable, I suppose. But that doesn’t mean I’m going to recommend it.` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_synopsis` will be updated with value `` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Copycat (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] IMAGES:

[16:32:37] TAXONOMIES:

[16:32:37] - Importing taxonomy `resource_category` ...

[16:32:37] - Attempted to create parent Resource resource_category `History`, duplicate detected. Importing Resource to existing `History` resource_category, ID 679, slug `history` ...

[16:32:37] - Attempted to create parent Resource resource_category `Modernity`, duplicate detected. Importing Resource to existing `Modernity` resource_category, ID 681, slug `modernity` ...

[16:32:37] - Attempted to create parent Resource resource_category `Old testament`, duplicate detected. Importing Resource to existing `Old testament` resource_category, ID 670, slug `old-testament` ...

[16:32:37] - Attempted to create parent Resource resource_category `Revelation`, duplicate detected. Importing Resource to existing `Revelation` resource_category, ID 669, slug `revelation` ...

[16:32:37] - Importing taxonomy `video_contributor` ...

[16:32:37] - Importing taxonomy `document_contributor` ...

[16:32:37] CREATED `Copycat (1995)` `Resource` (ID: 2349)

[16:32:37] ACTION: pmxi_saved_post

[16:32:37] ACTION: pmxi_after_post_import

[16:32:37] ---

[16:32:37] Record #23

[16:32:37] ACTION: pmxi_before_post_import ...

[16:32:37] Combine all data for post `Assassins (1995)`...

[16:32:37] Find corresponding article among previously imported for post `Assassins (1995)`...

[16:32:37] Duplicate post wasn't found with unique key `1715`...

[16:32:37] Applying filter `pmxi_article_data` for `Assassins (1995)`

[16:32:37] CREATING `Assassins (1995)` `Resource`

[16:32:37] Associate post `Assassins (1995)` with current import ...

[16:32:37] CUSTOM FIELDS:

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_video` will be updated with value `1` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `The unofficial conclusion of an unofficial trilogy of holiday-themed multistar comedy vehicles directed by Garry Marshall, “Mother’s Day” has its perfunctory heart exactly where any experienced viewer would expect it to be. That is, in a fantasy world where, among other things, one older mother’s lifetime of bigotry can be cured by half an afternoon spent with a mixed-race child. The major players in this movie of intertwined story lines include Kate Hudson as a daughter and mom addicted to secrets; Jennifer Aniston as a frazzled divorced mom superirritated by her ex, played by Timothy Olyphant (who’s clearly dying to star in a biopic of Billy Bob Thornton); Julia Roberts as a high-powered childless career woman; and Britt Robertson as a young single mom who’s loath to marry her winsome British boyfriend because of her ambivalence about having been adopted. You will guess, immediately, who her mom turns out to be. The movie, a goopy, glossy mess with 10 times more respect for contrived sentimentality than for film grammar, is bereft of genuinely amusing jokes — Mr. Marshall really had some nerve naming his autobiography “Wake Me When It’s Funny.” Which is not to say the film lacks entertainment value. There’s unusual imagery, in the form of Ms. Roberts’s recycled wig. (Perhaps she had hoped to pass for a Julia Roberts impersonator.) There’s suspense, as when Jason Sudeikis, playing a single dad, sings “The Humpty Dance” for a roomful of children, and you wonder if he’ll make it to the line “I once got busy in a Burger King bathroom.” And there are laughs, albeit inadvertent; the biggest comes courtesy of the production’s no-doubt overworked sound department, when Ms. Robertson utters “I have abandonment issues” without moving her mouth. GLENN KENNY “Mother’s Day” is rated PG-13 (Parents strongly cautioned) for language of the sort that your mom may use with you if you take her to see this movie.` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_url` will be updated with value `https://vimeo.com/139513` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_document` will be updated with value `1` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_synposis` will be updated with value `The unofficial conclusion of an unofficial trilogy of holiday-themed multistar comedy vehicles directed by Garry Marshall, “Mother’s Day” has its perfunctory heart exactly where any experienced viewer would expect it to be. That is, in a fantasy world where, among other things, one older mother’s lifetime of bigotry can be cured by half an afternoon spent with a mixed-race child. The major players in this movie of intertwined story lines include Kate Hudson as a daughter and mom addicted to secrets; Jennifer Aniston as a frazzled divorced mom superirritated by her ex, played by Timothy Olyphant (who’s clearly dying to star in a biopic of Billy Bob Thornton); Julia Roberts as a high-powered childless career woman; and Britt Robertson as a young single mom who’s loath to marry her winsome British boyfriend because of her ambivalence about having been adopted. You will guess, immediately, who her mom turns out to be. The movie, a goopy, glossy mess with 10 times more respect for contrived sentimentality than for film grammar, is bereft of genuinely amusing jokes — Mr. Marshall really had some nerve naming his autobiography “Wake Me When It’s Funny.” Which is not to say the film lacks entertainment value. There’s unusual imagery, in the form of Ms. Roberts’s recycled wig. (Perhaps she had hoped to pass for a Julia Roberts impersonator.) There’s suspense, as when Jason Sudeikis, playing a single dad, sings “The Humpty Dance” for a roomful of children, and you wonder if he’ll make it to the line “I once got busy in a Burger King bathroom.” And there are laughs, albeit inadvertent; the biggest comes courtesy of the production’s no-doubt overworked sound department, when Ms. Robertson utters “I have abandonment issues” without moving her mouth. GLENN KENNY “Mother’s Day” is rated PG-13 (Parents strongly cautioned) for language of the sort that your mom may use with you if you take her to see this movie.` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `The unofficial conclusion of an unofficial trilogy of holiday-themed multistar comedy vehicles directed by Garry Marshall, “Mother’s Day” has its perfunctory heart exactly where any experienced viewer would expect it to be. That is, in a fantasy world where, among other things, one older mother’s lifetime of bigotry can be cured by half an afternoon spent with a mixed-race child. The major players in this movie of intertwined story lines include Kate Hudson as a daughter and mom addicted to secrets; Jennifer Aniston as a frazzled divorced mom superirritated by her ex, played by Timothy Olyphant (who’s clearly dying to star in a biopic of Billy Bob Thornton); Julia Roberts as a high-powered childless career woman; and Britt Robertson as a young single mom who’s loath to marry her winsome British boyfriend because of her ambivalence about having been adopted. You will guess, immediately, who her mom turns out to be. The movie, a goopy, glossy mess with 10 times more respect for contrived sentimentality than for film grammar, is bereft of genuinely amusing jokes — Mr. Marshall really had some nerve naming his autobiography “Wake Me When It’s Funny.” Which is not to say the film lacks entertainment value. There’s unusual imagery, in the form of Ms. Roberts’s recycled wig. (Perhaps she had hoped to pass for a Julia Roberts impersonator.) There’s suspense, as when Jason Sudeikis, playing a single dad, sings “The Humpty Dance” for a roomful of children, and you wonder if he’ll make it to the line “I once got busy in a Burger King bathroom.” And there are laughs, albeit inadvertent; the biggest comes courtesy of the production’s no-doubt overworked sound department, when Ms. Robertson utters “I have abandonment issues” without moving her mouth. GLENN KENNY “Mother’s Day” is rated PG-13 (Parents strongly cautioned) for language of the sort that your mom may use with you if you take her to see this movie.` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_synopsis` will be updated with value `` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Assassins (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] IMAGES:

[16:32:37] TAXONOMIES:

[16:32:37] - Importing taxonomy `resource_category` ...

[16:32:37] - Attempted to create parent Resource resource_category `Biblical`, duplicate detected. Importing Resource to existing `Biblical` resource_category, ID 667, slug `biblical` ...

[16:32:37] - Attempted to create parent Resource resource_category `History`, duplicate detected. Importing Resource to existing `History` resource_category, ID 679, slug `history` ...

[16:32:37] - Attempted to create parent Resource resource_category `New testament`, duplicate detected. Importing Resource to existing `New testament` resource_category, ID 672, slug `new-testament` ...

[16:32:37] - Importing taxonomy `video_contributor` ...

[16:32:37] - Importing taxonomy `document_contributor` ...

[16:32:37] CREATED `Assassins (1995)` `Resource` (ID: 2350)

[16:32:37] ACTION: pmxi_saved_post

[16:32:37] ACTION: pmxi_after_post_import

[16:32:37] ---

[16:32:37] Record #24

[16:32:37] ACTION: pmxi_before_post_import ...

[16:32:37] Combine all data for post `Powder (1995)`...

[16:32:37] Find corresponding article among previously imported for post `Powder (1995)`...

[16:32:37] Duplicate post wasn't found with unique key `1716`...

[16:32:37] Applying filter `pmxi_article_data` for `Powder (1995)`

[16:32:37] CREATING `Powder (1995)` `Resource`

[16:32:37] Associate post `Powder (1995)` with current import ...

[16:32:37] CUSTOM FIELDS:

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_video` will be updated with value `1` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `“Mothers and Daughters” is full of recognizable stars and heartfelt conversations. Unfortunately, it’s largely devoid of the kind of character development that can give such conversations real impact. The movie — directed by Paul Duddridge and released, of course, just in time for Mother’s Day weekend — works an intersecting-stories structure as it follows several mother-daughter pairs through tensions, tears and reconciliations. The cast includes Susan Sarandon, Sharon Stone, Courteney Cox, Mira Sorvino, Christina Ricci and Eva Amurri Martino (Ms. Sarandon’s real daughter), and they are tasked with cutting right to the chase. Having multiple plotlines eats time, and, as a result, Paige Cameron, the screenwriter, doesn’t really lay much of a foundation for any of these relationships; instead, we’ve barely registered who’s who before we are plunged into the heart-to-hearts. Subtlety is not on the agenda here, either; these are big-moment stories that involve pregnancies, revelations about who is whose biological parent, and so on. The dialogue — much of it delivered via video conference calls, for some reason — is the kind of Lifetime movie stuff that will probably strike a chord with mothers and daughters who have had similar conversations or wish they had. “When you were born, and I saw you, I didn’t know that I could ever need anything that badly, that I could ever love anything that much,” Ms. Sarandon’s character tells her daughter. But what kind of relationship led to such earnest soul-baring? We’re left to imagine. NEIL GENZLINGER “Mothers and Daughters” is rated PG-13 (Parents strongly cautioned) for mature themes.` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_url` will be updated with value `https://vimeo.com/139544` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_document` will be updated with value `1` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_synposis` will be updated with value `“Mothers and Daughters” is full of recognizable stars and heartfelt conversations. Unfortunately, it’s largely devoid of the kind of character development that can give such conversations real impact. The movie — directed by Paul Duddridge and released, of course, just in time for Mother’s Day weekend — works an intersecting-stories structure as it follows several mother-daughter pairs through tensions, tears and reconciliations. The cast includes Susan Sarandon, Sharon Stone, Courteney Cox, Mira Sorvino, Christina Ricci and Eva Amurri Martino (Ms. Sarandon’s real daughter), and they are tasked with cutting right to the chase. Having multiple plotlines eats time, and, as a result, Paige Cameron, the screenwriter, doesn’t really lay much of a foundation for any of these relationships; instead, we’ve barely registered who’s who before we are plunged into the heart-to-hearts. Subtlety is not on the agenda here, either; these are big-moment stories that involve pregnancies, revelations about who is whose biological parent, and so on. The dialogue — much of it delivered via video conference calls, for some reason — is the kind of Lifetime movie stuff that will probably strike a chord with mothers and daughters who have had similar conversations or wish they had. “When you were born, and I saw you, I didn’t know that I could ever need anything that badly, that I could ever love anything that much,” Ms. Sarandon’s character tells her daughter. But what kind of relationship led to such earnest soul-baring? We’re left to imagine. NEIL GENZLINGER “Mothers and Daughters” is rated PG-13 (Parents strongly cautioned) for mature themes.` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `“Mothers and Daughters” is full of recognizable stars and heartfelt conversations. Unfortunately, it’s largely devoid of the kind of character development that can give such conversations real impact. The movie — directed by Paul Duddridge and released, of course, just in time for Mother’s Day weekend — works an intersecting-stories structure as it follows several mother-daughter pairs through tensions, tears and reconciliations. The cast includes Susan Sarandon, Sharon Stone, Courteney Cox, Mira Sorvino, Christina Ricci and Eva Amurri Martino (Ms. Sarandon’s real daughter), and they are tasked with cutting right to the chase. Having multiple plotlines eats time, and, as a result, Paige Cameron, the screenwriter, doesn’t really lay much of a foundation for any of these relationships; instead, we’ve barely registered who’s who before we are plunged into the heart-to-hearts. Subtlety is not on the agenda here, either; these are big-moment stories that involve pregnancies, revelations about who is whose biological parent, and so on. The dialogue — much of it delivered via video conference calls, for some reason — is the kind of Lifetime movie stuff that will probably strike a chord with mothers and daughters who have had similar conversations or wish they had. “When you were born, and I saw you, I didn’t know that I could ever need anything that badly, that I could ever love anything that much,” Ms. Sarandon’s character tells her daughter. But what kind of relationship led to such earnest soul-baring? We’re left to imagine. NEIL GENZLINGER “Mothers and Daughters” is rated PG-13 (Parents strongly cautioned) for mature themes.` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_synopsis` will be updated with value `` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Powder (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] IMAGES:

[16:32:37] TAXONOMIES:

[16:32:37] - Importing taxonomy `resource_category` ...

[16:32:37] - Attempted to create parent Resource resource_category `Biblical`, duplicate detected. Importing Resource to existing `Biblical` resource_category, ID 667, slug `biblical` ...

[16:32:37] - Attempted to create parent Resource resource_category `Judges`, duplicate detected. Importing Resource to existing `Judges` resource_category, ID 677, slug `judges` ...

[16:32:37] - Attempted to create parent Resource resource_category `Revelation`, duplicate detected. Importing Resource to existing `Revelation` resource_category, ID 669, slug `revelation` ...

[16:32:37] - Importing taxonomy `video_contributor` ...

[16:32:37] - Importing taxonomy `document_contributor` ...

[16:32:37] CREATED `Powder (1995)` `Resource` (ID: 2351)

[16:32:37] ACTION: pmxi_saved_post

[16:32:37] ACTION: pmxi_after_post_import

[16:32:37] ---

[16:32:37] Record #25

[16:32:37] ACTION: pmxi_before_post_import ...

[16:32:37] Combine all data for post `Leaving Las Vegas (1995)`...

[16:32:37] Find corresponding article among previously imported for post `Leaving Las Vegas (1995)`...

[16:32:37] Duplicate post wasn't found with unique key `1717`...

[16:32:37] Applying filter `pmxi_article_data` for `Leaving Las Vegas (1995)`

[16:32:37] CREATING `Leaving Las Vegas (1995)` `Resource`

[16:32:37] Associate post `Leaving Las Vegas (1995)` with current import ...

[16:32:37] CUSTOM FIELDS:

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_video` will be updated with value `1` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `One night, Nina Simone, the great jazz singer, composer and pianist, now semiretired on the French Riviera, calls up her old friend Richard Pryor. It’s the 1990s, and both of them have seen better days. His first words to her are “Can you imagine?,” and while he’s referring to his own struggles with addiction and illness, his question haunts “Nina,” a sincere and spectacularly misbegotten new biopic. While the movie may invite us to imagine its subject’s extraordinary life, it frustrates our ability to do so at every turn. The conversation with Pryor, who is played by Mike Epps, is a perfect example. A flashback establishes that they performed together back in the ’60s, but it’s gone before any historical or emotional significance has registered. In its wake there is a lingering flicker of curiosity. Nina Simone and Richard Pryor were friends. Wouldn’t that make an interesting movie? There are so many interesting movies hovering in the air, none of them the one onscreen. “Nina,” written and directed by Cynthia Mort, has taken a long time to arrive in theaters. In the months leading up to its release, the film has been criticized for casting Zoe Saldana, who is also credited as an executive producer, in the title role. The real Nina Simone had much darker skin than Ms. Saldana, whose participation has sparked renewed discussion about persistent color bias in popular culture. The fact that her complexion, like her accent, seems to shift from one scene to the next is unlikely to help. But the problems with “Nina” are more than skin deep. Ms. Saldana does her own singing, and while she has a fine voice, she lacks Ms. Simone’s lower register range and the uniquely Simonean tonal quality that was somehow both raw and silken, furious and sad. Still, the film, shot in cool, soft, vintagey colors by Mihai Malaimare Jr., works better as a lounge act than as a biography. The songs (including “Four Women,” “Wild Is the Wind,” “My Baby Just Cares for Me” and “See-Line Woman”) are still great. Even so, those interested in Simone’s art should listen to her records. Those curious about her life can check out “What Happened, Miss Simone?,” Liz Garbus’s recent, and excellent, documentary. Many of the important facts in that movie appear as footnotes or flashbacks in this one. An early scene shows Simone as a teenage piano prodigy in North Carolina, insisting that her parents be seated in the segregated hall where she is performing. Later, in an interview on French radio, she recalls her Juilliard education and her rejection from the Curtis Institute in Philadelphia, which had no place for a young black woman interested in classical music. We catch a glimpse of her composing “To Be Young, Gifted and Black” in the company of its inspiration, the playwright Lorraine Hansberry. We learn that she had a daughter and was active in the civil rights movement. But the threads that would connect these data points into something coherent — let alone revelatory, moving or provocative — are never supplied. Instead, we are treated to a bizarre, shambling drama about Simone’s relationship, in her last decade, with Clifton Henderson (David Oyelowo), who was her assistant and then her manager. They meet in Los Angeles, where Simone has been placed in a psychiatric ward after pulling a gun on a record-company executive. Clifton, a nurse, treats her kindly and is aware of her fame, so she drops some cash on him (literally) and spirits him away to the South of France, where she leads a dissipated expat life. Existing on Champagne and cigarettes, she pouts and sleeps and swears at poor Clifton, refusing to eat the food he prepares her and occasionally throwing things at him. In her early 60s, she still intermittently performs and records, but her erratic behavior, some of it the result of bipolar disorder, keeps her from the comeback she desires and deserves. To the extent that “Nina” has a plot, it involves Clifton’s efforts to help her and preserve his own patience and dignity. But their interactions, too, feel like a weird cabaret act, or like outtakes from a sitcom about a crazy diva and her loyal servant. Ms. Mort’s writing lacks psychological texture, and her direction generates little intensity, or even continuity. To say nothing of relevance. Ms. Garbus’s documentary implicitly linked Simone’s public career and private travails to the racial and sexual politics of the present. There are few musicians whose work feels so permanently urgent, whose contribution still demands to be grappled with and understood. It gives me no pleasure to say that “Nina” contributes nothing to that understanding. “Nina” is not rated. Running time: 1 hour 30 minutes.` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_url` will be updated with value `https://vimeo.com/140025` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_document` will be updated with value `1` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_synposis` will be updated with value `One night, Nina Simone, the great jazz singer, composer and pianist, now semiretired on the French Riviera, calls up her old friend Richard Pryor. It’s the 1990s, and both of them have seen better days. His first words to her are “Can you imagine?,” and while he’s referring to his own struggles with addiction and illness, his question haunts “Nina,” a sincere and spectacularly misbegotten new biopic. While the movie may invite us to imagine its subject’s extraordinary life, it frustrates our ability to do so at every turn. The conversation with Pryor, who is played by Mike Epps, is a perfect example. A flashback establishes that they performed together back in the ’60s, but it’s gone before any historical or emotional significance has registered. In its wake there is a lingering flicker of curiosity. Nina Simone and Richard Pryor were friends. Wouldn’t that make an interesting movie? There are so many interesting movies hovering in the air, none of them the one onscreen. “Nina,” written and directed by Cynthia Mort, has taken a long time to arrive in theaters. In the months leading up to its release, the film has been criticized for casting Zoe Saldana, who is also credited as an executive producer, in the title role. The real Nina Simone had much darker skin than Ms. Saldana, whose participation has sparked renewed discussion about persistent color bias in popular culture. The fact that her complexion, like her accent, seems to shift from one scene to the next is unlikely to help. But the problems with “Nina” are more than skin deep. Ms. Saldana does her own singing, and while she has a fine voice, she lacks Ms. Simone’s lower register range and the uniquely Simonean tonal quality that was somehow both raw and silken, furious and sad. Still, the film, shot in cool, soft, vintagey colors by Mihai Malaimare Jr., works better as a lounge act than as a biography. The songs (including “Four Women,” “Wild Is the Wind,” “My Baby Just Cares for Me” and “See-Line Woman”) are still great. Even so, those interested in Simone’s art should listen to her records. Those curious about her life can check out “What Happened, Miss Simone?,” Liz Garbus’s recent, and excellent, documentary. Many of the important facts in that movie appear as footnotes or flashbacks in this one. An early scene shows Simone as a teenage piano prodigy in North Carolina, insisting that her parents be seated in the segregated hall where she is performing. Later, in an interview on French radio, she recalls her Juilliard education and her rejection from the Curtis Institute in Philadelphia, which had no place for a young black woman interested in classical music. We catch a glimpse of her composing “To Be Young, Gifted and Black” in the company of its inspiration, the playwright Lorraine Hansberry. We learn that she had a daughter and was active in the civil rights movement. But the threads that would connect these data points into something coherent — let alone revelatory, moving or provocative — are never supplied. Instead, we are treated to a bizarre, shambling drama about Simone’s relationship, in her last decade, with Clifton Henderson (David Oyelowo), who was her assistant and then her manager. They meet in Los Angeles, where Simone has been placed in a psychiatric ward after pulling a gun on a record-company executive. Clifton, a nurse, treats her kindly and is aware of her fame, so she drops some cash on him (literally) and spirits him away to the South of France, where she leads a dissipated expat life. Existing on Champagne and cigarettes, she pouts and sleeps and swears at poor Clifton, refusing to eat the food he prepares her and occasionally throwing things at him. In her early 60s, she still intermittently performs and records, but her erratic behavior, some of it the result of bipolar disorder, keeps her from the comeback she desires and deserves. To the extent that “Nina” has a plot, it involves Clifton’s efforts to help her and preserve his own patience and dignity. But their interactions, too, feel like a weird cabaret act, or like outtakes from a sitcom about a crazy diva and her loyal servant. Ms. Mort’s writing lacks psychological texture, and her direction generates little intensity, or even continuity. To say nothing of relevance. Ms. Garbus’s documentary implicitly linked Simone’s public career and private travails to the racial and sexual politics of the present. There are few musicians whose work feels so permanently urgent, whose contribution still demands to be grappled with and understood. It gives me no pleasure to say that “Nina” contributes nothing to that understanding. “Nina” is not rated. Running time: 1 hour 30 minutes.` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `One night, Nina Simone, the great jazz singer, composer and pianist, now semiretired on the French Riviera, calls up her old friend Richard Pryor. It’s the 1990s, and both of them have seen better days. His first words to her are “Can you imagine?,” and while he’s referring to his own struggles with addiction and illness, his question haunts “Nina,” a sincere and spectacularly misbegotten new biopic. While the movie may invite us to imagine its subject’s extraordinary life, it frustrates our ability to do so at every turn. The conversation with Pryor, who is played by Mike Epps, is a perfect example. A flashback establishes that they performed together back in the ’60s, but it’s gone before any historical or emotional significance has registered. In its wake there is a lingering flicker of curiosity. Nina Simone and Richard Pryor were friends. Wouldn’t that make an interesting movie? There are so many interesting movies hovering in the air, none of them the one onscreen. “Nina,” written and directed by Cynthia Mort, has taken a long time to arrive in theaters. In the months leading up to its release, the film has been criticized for casting Zoe Saldana, who is also credited as an executive producer, in the title role. The real Nina Simone had much darker skin than Ms. Saldana, whose participation has sparked renewed discussion about persistent color bias in popular culture. The fact that her complexion, like her accent, seems to shift from one scene to the next is unlikely to help. But the problems with “Nina” are more than skin deep. Ms. Saldana does her own singing, and while she has a fine voice, she lacks Ms. Simone’s lower register range and the uniquely Simonean tonal quality that was somehow both raw and silken, furious and sad. Still, the film, shot in cool, soft, vintagey colors by Mihai Malaimare Jr., works better as a lounge act than as a biography. The songs (including “Four Women,” “Wild Is the Wind,” “My Baby Just Cares for Me” and “See-Line Woman”) are still great. Even so, those interested in Simone’s art should listen to her records. Those curious about her life can check out “What Happened, Miss Simone?,” Liz Garbus’s recent, and excellent, documentary. Many of the important facts in that movie appear as footnotes or flashbacks in this one. An early scene shows Simone as a teenage piano prodigy in North Carolina, insisting that her parents be seated in the segregated hall where she is performing. Later, in an interview on French radio, she recalls her Juilliard education and her rejection from the Curtis Institute in Philadelphia, which had no place for a young black woman interested in classical music. We catch a glimpse of her composing “To Be Young, Gifted and Black” in the company of its inspiration, the playwright Lorraine Hansberry. We learn that she had a daughter and was active in the civil rights movement. But the threads that would connect these data points into something coherent — let alone revelatory, moving or provocative — are never supplied. Instead, we are treated to a bizarre, shambling drama about Simone’s relationship, in her last decade, with Clifton Henderson (David Oyelowo), who was her assistant and then her manager. They meet in Los Angeles, where Simone has been placed in a psychiatric ward after pulling a gun on a record-company executive. Clifton, a nurse, treats her kindly and is aware of her fame, so she drops some cash on him (literally) and spirits him away to the South of France, where she leads a dissipated expat life. Existing on Champagne and cigarettes, she pouts and sleeps and swears at poor Clifton, refusing to eat the food he prepares her and occasionally throwing things at him. In her early 60s, she still intermittently performs and records, but her erratic behavior, some of it the result of bipolar disorder, keeps her from the comeback she desires and deserves. To the extent that “Nina” has a plot, it involves Clifton’s efforts to help her and preserve his own patience and dignity. But their interactions, too, feel like a weird cabaret act, or like outtakes from a sitcom about a crazy diva and her loyal servant. Ms. Mort’s writing lacks psychological texture, and her direction generates little intensity, or even continuity. To say nothing of relevance. Ms. Garbus’s documentary implicitly linked Simone’s public career and private travails to the racial and sexual politics of the present. There are few musicians whose work feels so permanently urgent, whose contribution still demands to be grappled with and understood. It gives me no pleasure to say that “Nina” contributes nothing to that understanding. “Nina” is not rated. Running time: 1 hour 30 minutes.` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_synopsis` will be updated with value `` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Leaving Las Vegas (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] IMAGES:

[16:32:37] TAXONOMIES:

[16:32:37] - Importing taxonomy `resource_category` ...

[16:32:37] - Attempted to create parent Resource resource_category `Modernity`, duplicate detected. Importing Resource to existing `Modernity` resource_category, ID 681, slug `modernity` ...

[16:32:37] - Attempted to create parent Resource resource_category `New testament`, duplicate detected. Importing Resource to existing `New testament` resource_category, ID 672, slug `new-testament` ...

[16:32:37] - Attempted to create parent Resource resource_category `Old testament`, duplicate detected. Importing Resource to existing `Old testament` resource_category, ID 670, slug `old-testament` ...

[16:32:37] - Attempted to create parent Resource resource_category `Timothy`, duplicate detected. Importing Resource to existing `Timothy` resource_category, ID 678, slug `timothy` ...

[16:32:37] - Importing taxonomy `video_contributor` ...

[16:32:37] - Importing taxonomy `document_contributor` ...

[16:32:37] CREATED `Leaving Las Vegas (1995)` `Resource` (ID: 2352)

[16:32:37] ACTION: pmxi_saved_post

[16:32:37] ACTION: pmxi_after_post_import

[16:32:37] ---

[16:32:37] Record #26

[16:32:37] ACTION: pmxi_before_post_import ...

[16:32:37] Combine all data for post `Othello (1995)`...

[16:32:37] Find corresponding article among previously imported for post `Othello (1995)`...

[16:32:37] Duplicate post wasn't found with unique key `1718`...

[16:32:37] Applying filter `pmxi_article_data` for `Othello (1995)`

[16:32:37] CREATING `Othello (1995)` `Resource`

[16:32:37] Associate post `Othello (1995)` with current import ...

[16:32:37] CUSTOM FIELDS:

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_video` will be updated with value `1` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `“A terrible beauty is born,” Yeats wrote in his poem “Easter 1916,” about Ireland’s fight for independence from the British. But the 30 centenarians facing the camera in Alex Fegan’s delightful documentary “Older Than Ireland” are simply beautiful: frail, yes, but wise, wry, flinty, funny and sometimes very tender. All were born before the Easter Rising, an event widely celebrated this year that sparked the explosion in patriotism that ultimately led to the founding of the Irish Republic. The film begins with a gently frivolous tone, to a light piano score. In largely flat, symmetrical compositions, its subjects address questions: How does it feel to be 100? What’s the secret to longevity? What was school like? (Lots of corporal punishment, apparently.) Then it moves into more haunting recollections: Bessie Nolan, 103, recalls the day of the Easter Rising. Jackie O’Sullivan, 102, met the rebels Michael Collins and Eamon de Valera. Among others, Michael O’Connor, 101, and Flann Brennan, 101, describe the vicious predations of the Black and Tans. Jack Powell, 101, remembers the early emergence of the Irish Republican Army. Some passages — descriptions of dance halls, first kisses (“a snoggle in the ditch”), wedding proposals, tearful partings with emigrants to America and with dying spouses — are downright poignant. As for inevitable fate, Ms. Nolan says, “I’m looking forward to the hereafter.” It’s often said that the Irish, blessed with the gift of gab, can be splendid raconteurs. You’ll find generous evidence to that effect here. And a bit of poetry as well.` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_url` will be updated with value `https://vimeo.com/140519` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_document` will be updated with value `1` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_synposis` will be updated with value `“A terrible beauty is born,” Yeats wrote in his poem “Easter 1916,” about Ireland’s fight for independence from the British. But the 30 centenarians facing the camera in Alex Fegan’s delightful documentary “Older Than Ireland” are simply beautiful: frail, yes, but wise, wry, flinty, funny and sometimes very tender. All were born before the Easter Rising, an event widely celebrated this year that sparked the explosion in patriotism that ultimately led to the founding of the Irish Republic. The film begins with a gently frivolous tone, to a light piano score. In largely flat, symmetrical compositions, its subjects address questions: How does it feel to be 100? What’s the secret to longevity? What was school like? (Lots of corporal punishment, apparently.) Then it moves into more haunting recollections: Bessie Nolan, 103, recalls the day of the Easter Rising. Jackie O’Sullivan, 102, met the rebels Michael Collins and Eamon de Valera. Among others, Michael O’Connor, 101, and Flann Brennan, 101, describe the vicious predations of the Black and Tans. Jack Powell, 101, remembers the early emergence of the Irish Republican Army. Some passages — descriptions of dance halls, first kisses (“a snoggle in the ditch”), wedding proposals, tearful partings with emigrants to America and with dying spouses — are downright poignant. As for inevitable fate, Ms. Nolan says, “I’m looking forward to the hereafter.” It’s often said that the Irish, blessed with the gift of gab, can be splendid raconteurs. You’ll find generous evidence to that effect here. And a bit of poetry as well.` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `“A terrible beauty is born,” Yeats wrote in his poem “Easter 1916,” about Ireland’s fight for independence from the British. But the 30 centenarians facing the camera in Alex Fegan’s delightful documentary “Older Than Ireland” are simply beautiful: frail, yes, but wise, wry, flinty, funny and sometimes very tender. All were born before the Easter Rising, an event widely celebrated this year that sparked the explosion in patriotism that ultimately led to the founding of the Irish Republic. The film begins with a gently frivolous tone, to a light piano score. In largely flat, symmetrical compositions, its subjects address questions: How does it feel to be 100? What’s the secret to longevity? What was school like? (Lots of corporal punishment, apparently.) Then it moves into more haunting recollections: Bessie Nolan, 103, recalls the day of the Easter Rising. Jackie O’Sullivan, 102, met the rebels Michael Collins and Eamon de Valera. Among others, Michael O’Connor, 101, and Flann Brennan, 101, describe the vicious predations of the Black and Tans. Jack Powell, 101, remembers the early emergence of the Irish Republican Army. Some passages — descriptions of dance halls, first kisses (“a snoggle in the ditch”), wedding proposals, tearful partings with emigrants to America and with dying spouses — are downright poignant. As for inevitable fate, Ms. Nolan says, “I’m looking forward to the hereafter.” It’s often said that the Irish, blessed with the gift of gab, can be splendid raconteurs. You’ll find generous evidence to that effect here. And a bit of poetry as well.` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_synopsis` will be updated with value `` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Othello (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] IMAGES:

[16:32:37] TAXONOMIES:

[16:32:37] - Importing taxonomy `resource_category` ...

[16:32:37] - Attempted to create parent Resource resource_category `History`, duplicate detected. Importing Resource to existing `History` resource_category, ID 679, slug `history` ...

[16:32:37] - Attempted to create parent Resource resource_category `Modernity`, duplicate detected. Importing Resource to existing `Modernity` resource_category, ID 681, slug `modernity` ...

[16:32:37] - Attempted to create parent Resource resource_category `Revelation`, duplicate detected. Importing Resource to existing `Revelation` resource_category, ID 669, slug `revelation` ...

[16:32:37] - Attempted to create parent Resource resource_category `Timothy`, duplicate detected. Importing Resource to existing `Timothy` resource_category, ID 678, slug `timothy` ...

[16:32:37] - Importing taxonomy `video_contributor` ...

[16:32:37] - Importing taxonomy `document_contributor` ...

[16:32:37] CREATED `Othello (1995)` `Resource` (ID: 2353)

[16:32:37] ACTION: pmxi_saved_post

[16:32:37] ACTION: pmxi_after_post_import

[16:32:37] ---

[16:32:37] Record #27

[16:32:37] ACTION: pmxi_before_post_import ...

[16:32:37] Combine all data for post `Now and Then (1995)`...

[16:32:37] Find corresponding article among previously imported for post `Now and Then (1995)`...

[16:32:37] Duplicate post wasn't found with unique key `1719`...

[16:32:37] Applying filter `pmxi_article_data` for `Now and Then (1995)`

[16:32:37] CREATING `Now and Then (1995)` `Resource`

[16:32:37] Associate post `Now and Then (1995)` with current import ...

[16:32:37] CUSTOM FIELDS:

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_video` will be updated with value `1` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `“Pali Road” is a decent romantic thriller with an uncredited co-star: the state of Hawaii, where it was filmed. The acting is on the wooden side, but the scenery is gorgeous. Lily (the Taiwanese actress Michelle Chen) is a young doctor who is coveted by a fellow physician, Mitch (Sung Kang), but is in a relationship with an elementary-school teacher named Neil (Jackson Rathbone of the “Twilight” movies). After she is in a car crash — the film’s title is a reference to a real stretch of roadway in Hawaii that has a reputation for strange occurrences — she wakes up in an unfamiliar world: She is married to Mitch and has a son, and no one in her life has ever heard of Neil. Jonathan Lim, directing a screenplay by Doc Pedrolie and Victoria Arch, juggles the possibilities pretty well. Is Lily crazy? Is she the victim of an elaborate plot orchestrated by Mitch? Henry Ian Cusick lends a creepy air as a counselor who may or may not have her best interests at heart as he coaxes her to accept the reality she sees. A lot of the weight of selling the story falls on Ms. Chen, and she’s not entirely up to the challenge, but Mr. Lim is able to build suspense anyway. The film might have been more interesting had it delved further into the darker possibilities. Mr. Lim, though, ultimately lets romance be the dominant theme — the love we want, the love we missed out on, the love we get — and there’s some satisfaction there. NEIL GENZLINGER “Pali Road” is rated PG (Parental guidance suggested) for a few scary moments.` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_url` will be updated with value `https://vimeo.com/141284` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_document` will be updated with value `1` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_synposis` will be updated with value `“Pali Road” is a decent romantic thriller with an uncredited co-star: the state of Hawaii, where it was filmed. The acting is on the wooden side, but the scenery is gorgeous. Lily (the Taiwanese actress Michelle Chen) is a young doctor who is coveted by a fellow physician, Mitch (Sung Kang), but is in a relationship with an elementary-school teacher named Neil (Jackson Rathbone of the “Twilight” movies). After she is in a car crash — the film’s title is a reference to a real stretch of roadway in Hawaii that has a reputation for strange occurrences — she wakes up in an unfamiliar world: She is married to Mitch and has a son, and no one in her life has ever heard of Neil. Jonathan Lim, directing a screenplay by Doc Pedrolie and Victoria Arch, juggles the possibilities pretty well. Is Lily crazy? Is she the victim of an elaborate plot orchestrated by Mitch? Henry Ian Cusick lends a creepy air as a counselor who may or may not have her best interests at heart as he coaxes her to accept the reality she sees. A lot of the weight of selling the story falls on Ms. Chen, and she’s not entirely up to the challenge, but Mr. Lim is able to build suspense anyway. The film might have been more interesting had it delved further into the darker possibilities. Mr. Lim, though, ultimately lets romance be the dominant theme — the love we want, the love we missed out on, the love we get — and there’s some satisfaction there. NEIL GENZLINGER “Pali Road” is rated PG (Parental guidance suggested) for a few scary moments.` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `“Pali Road” is a decent romantic thriller with an uncredited co-star: the state of Hawaii, where it was filmed. The acting is on the wooden side, but the scenery is gorgeous. Lily (the Taiwanese actress Michelle Chen) is a young doctor who is coveted by a fellow physician, Mitch (Sung Kang), but is in a relationship with an elementary-school teacher named Neil (Jackson Rathbone of the “Twilight” movies). After she is in a car crash — the film’s title is a reference to a real stretch of roadway in Hawaii that has a reputation for strange occurrences — she wakes up in an unfamiliar world: She is married to Mitch and has a son, and no one in her life has ever heard of Neil. Jonathan Lim, directing a screenplay by Doc Pedrolie and Victoria Arch, juggles the possibilities pretty well. Is Lily crazy? Is she the victim of an elaborate plot orchestrated by Mitch? Henry Ian Cusick lends a creepy air as a counselor who may or may not have her best interests at heart as he coaxes her to accept the reality she sees. A lot of the weight of selling the story falls on Ms. Chen, and she’s not entirely up to the challenge, but Mr. Lim is able to build suspense anyway. The film might have been more interesting had it delved further into the darker possibilities. Mr. Lim, though, ultimately lets romance be the dominant theme — the love we want, the love we missed out on, the love we get — and there’s some satisfaction there. NEIL GENZLINGER “Pali Road” is rated PG (Parental guidance suggested) for a few scary moments.` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_synopsis` will be updated with value `` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Now and Then (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] IMAGES:

[16:32:37] TAXONOMIES:

[16:32:37] - Importing taxonomy `resource_category` ...

[16:32:37] - Attempted to create parent Resource resource_category `Biblical`, duplicate detected. Importing Resource to existing `Biblical` resource_category, ID 667, slug `biblical` ...

[16:32:37] - Attempted to create parent Resource resource_category `Judges`, duplicate detected. Importing Resource to existing `Judges` resource_category, ID 677, slug `judges` ...

[16:32:37] - Attempted to create parent Resource resource_category `Old testament`, duplicate detected. Importing Resource to existing `Old testament` resource_category, ID 670, slug `old-testament` ...

[16:32:37] - Importing taxonomy `video_contributor` ...

[16:32:37] - Importing taxonomy `document_contributor` ...

[16:32:37] CREATED `Now and Then (1995)` `Resource` (ID: 2354)

[16:32:37] ACTION: pmxi_saved_post

[16:32:37] ACTION: pmxi_after_post_import

[16:32:37] ---

[16:32:37] Record #28

[16:32:37] ACTION: pmxi_before_post_import ...

[16:32:37] Combine all data for post `Persuasion (1995)`...

[16:32:37] Find corresponding article among previously imported for post `Persuasion (1995)`...

[16:32:37] Duplicate post wasn't found with unique key `1720`...

[16:32:37] Applying filter `pmxi_article_data` for `Persuasion (1995)`

[16:32:37] CREATING `Persuasion (1995)` `Resource`

[16:32:37] Associate post `Persuasion (1995)` with current import ...

[16:32:37] CUSTOM FIELDS:

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_video` will be updated with value `1` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `At first, it strains credulity. In the late 1950s, just as rebellion is smoldering in Cuba, a reporter in Miami is laboring over a letter to his literary idol. Then, before you can say “The Old Man and the Sea,” the reporter, Ed Myers (Giovanni Ribisi), is whisked away to Cuba for a fishing trip with his hero, Ernest Hemingway. His adventure begins on a dock as Papa himself floats into view, commanding the flying bridge of his boat like a Roman charioteer. Abandoned as a child during the Depression, at Christmas, no less, the Kid, as Hemingway calls Myers, fled the orphanage to seek his journalistic fortune. Now, he’s in the right place to cover the revolution between tossing back drinks, learning to land a tuna and lounging on pristine beaches with Hemingway and his fourth wife, Mary (Joely Richardson), who invite him to join the family. But Bob Yari’s “Papa: Hemingway in Cuba” is more artifact than art. Shot at Finca Vigi´a, the author’s home near Havana, it bristles with authentic detail, down to the very typewriter Hemingway used. That the movie was made at all during the economic embargo was a feat of diplomacy, financial and otherwise. Ultimately, however, “Papa,” based on an autobiographical screenplay, goes soft at its center. Adrian Sparks, white-bearded and bearish in the title role, lacks the dynamism and bombast we expect. Ms. Richardson comforts and coaxes and exasperatedly, bitingly demeans, but she and Mr. Sparks play past each other instead of engaging. The film does have its treats beyond the historical and geographic. Be on the lookout for Papa’s granddaughter Mariel Hemingway, in white cat-eye specs. “Papa: Hemingway in Cuba” is rated R (Under 17 requires accompanying parent or adult guardian) for what a passing 9-year-old called “too many bare butts in the pool” and low-impact sex, fully under the covers. Running time: 1 hour 46 minutes.` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_url` will be updated with value `https://vimeo.com/141358` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_document` will be updated with value `1` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_synposis` will be updated with value `At first, it strains credulity. In the late 1950s, just as rebellion is smoldering in Cuba, a reporter in Miami is laboring over a letter to his literary idol. Then, before you can say “The Old Man and the Sea,” the reporter, Ed Myers (Giovanni Ribisi), is whisked away to Cuba for a fishing trip with his hero, Ernest Hemingway. His adventure begins on a dock as Papa himself floats into view, commanding the flying bridge of his boat like a Roman charioteer. Abandoned as a child during the Depression, at Christmas, no less, the Kid, as Hemingway calls Myers, fled the orphanage to seek his journalistic fortune. Now, he’s in the right place to cover the revolution between tossing back drinks, learning to land a tuna and lounging on pristine beaches with Hemingway and his fourth wife, Mary (Joely Richardson), who invite him to join the family. But Bob Yari’s “Papa: Hemingway in Cuba” is more artifact than art. Shot at Finca Vigi´a, the author’s home near Havana, it bristles with authentic detail, down to the very typewriter Hemingway used. That the movie was made at all during the economic embargo was a feat of diplomacy, financial and otherwise. Ultimately, however, “Papa,” based on an autobiographical screenplay, goes soft at its center. Adrian Sparks, white-bearded and bearish in the title role, lacks the dynamism and bombast we expect. Ms. Richardson comforts and coaxes and exasperatedly, bitingly demeans, but she and Mr. Sparks play past each other instead of engaging. The film does have its treats beyond the historical and geographic. Be on the lookout for Papa’s granddaughter Mariel Hemingway, in white cat-eye specs. “Papa: Hemingway in Cuba” is rated R (Under 17 requires accompanying parent or adult guardian) for what a passing 9-year-old called “too many bare butts in the pool” and low-impact sex, fully under the covers. Running time: 1 hour 46 minutes.` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `At first, it strains credulity. In the late 1950s, just as rebellion is smoldering in Cuba, a reporter in Miami is laboring over a letter to his literary idol. Then, before you can say “The Old Man and the Sea,” the reporter, Ed Myers (Giovanni Ribisi), is whisked away to Cuba for a fishing trip with his hero, Ernest Hemingway. His adventure begins on a dock as Papa himself floats into view, commanding the flying bridge of his boat like a Roman charioteer. Abandoned as a child during the Depression, at Christmas, no less, the Kid, as Hemingway calls Myers, fled the orphanage to seek his journalistic fortune. Now, he’s in the right place to cover the revolution between tossing back drinks, learning to land a tuna and lounging on pristine beaches with Hemingway and his fourth wife, Mary (Joely Richardson), who invite him to join the family. But Bob Yari’s “Papa: Hemingway in Cuba” is more artifact than art. Shot at Finca Vigi´a, the author’s home near Havana, it bristles with authentic detail, down to the very typewriter Hemingway used. That the movie was made at all during the economic embargo was a feat of diplomacy, financial and otherwise. Ultimately, however, “Papa,” based on an autobiographical screenplay, goes soft at its center. Adrian Sparks, white-bearded and bearish in the title role, lacks the dynamism and bombast we expect. Ms. Richardson comforts and coaxes and exasperatedly, bitingly demeans, but she and Mr. Sparks play past each other instead of engaging. The film does have its treats beyond the historical and geographic. Be on the lookout for Papa’s granddaughter Mariel Hemingway, in white cat-eye specs. “Papa: Hemingway in Cuba” is rated R (Under 17 requires accompanying parent or adult guardian) for what a passing 9-year-old called “too many bare butts in the pool” and low-impact sex, fully under the covers. Running time: 1 hour 46 minutes.` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_synopsis` will be updated with value `` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Persuasion (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] IMAGES:

[16:32:37] TAXONOMIES:

[16:32:37] - Importing taxonomy `resource_category` ...

[16:32:37] - Attempted to create parent Resource resource_category `Biblical`, duplicate detected. Importing Resource to existing `Biblical` resource_category, ID 667, slug `biblical` ...

[16:32:37] - Attempted to create parent Resource resource_category `Judges`, duplicate detected. Importing Resource to existing `Judges` resource_category, ID 677, slug `judges` ...

[16:32:37] - Attempted to create parent Resource resource_category `Old testament`, duplicate detected. Importing Resource to existing `Old testament` resource_category, ID 670, slug `old-testament` ...

[16:32:37] - Importing taxonomy `video_contributor` ...

[16:32:37] - Importing taxonomy `document_contributor` ...

[16:32:37] CREATED `Persuasion (1995)` `Resource` (ID: 2355)

[16:32:37] ACTION: pmxi_saved_post

[16:32:37] ACTION: pmxi_after_post_import

[16:32:37] ---

[16:32:37] Record #29

[16:32:37] ACTION: pmxi_before_post_import ...

[16:32:37] Combine all data for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)`...

[16:32:37] Find corresponding article among previously imported for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)`...

[16:32:37] Duplicate post wasn't found with unique key `1721`...

[16:32:37] Applying filter `pmxi_article_data` for `City of Lost Children, The (Cité des enfants perdus, La) (1995)`

[16:32:37] CREATING `City of Lost Children, The (Cité des enfants perdus, La) (1995)` `Resource`

[16:32:37] Associate post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` with current import ...

[16:32:37] CUSTOM FIELDS:

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `subject` will be updated with value `This is what the punter will see` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_video` will be updated with value `1` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `Watching the generic computer-animated “Ratchet & Clank,” you’re flooded with reminders of familiar characters. The hero Ratchet — a lombax, a frisky creature with big ears and eyes, who aspires to join the Galactic Rangers, protectors of the galaxy evoking the Green Lantern Corps — has the small physique and intent expression of an evolved Sonic the Hedgehog. His brainy sidekick, the robotic Clank, resembles a diminutive take on the title character from “The Iron Giant”; his voice could be a bookwormish twist on Marvin the Martian’s. When Ratchet (voiced by James Arnold Taylor) succeeds in entering the ranks of the Rangers, he finds that the vain bluster of their leader, Captain Qwark (Jim Ward, reproducing Patrick Warburton’s pompous shtick in “The Tick”), to be hollow. Qwark’s flaws are most evident when the universe is threatened by the evil ex-Ranger Dr. Nefarious (Armin Shimerman), a distant cousin to Will Ferrell’s villain in “Megamind.” Other shopworn aspects — Ratchet’s modest origins as a rocket mechanic who, his boss says, should “dream smaller”; a rapacious antagonist (Paul Giamatti, in sinister-capitalist mode) aided by an oversize thug (Sylvester Stallone) — prompted tired eye rolls, as did the trite motivations and frenetic aerial acrobatics. It comes as no surprise that “Ratchet & Clank” is built around a PlayStation video game series that first appeared in 2002. But of course. It has little story to tell and few ideas to offer. Just a great deal of product to sell. ANDY WEBSTER “Ratchet & Clank” is rated PG (Parental guidance suggested) for — what? Clichés?` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_url` will be updated with value `https://vimeo.com/141393` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_document` will be updated with value `1` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_synposis` will be updated with value `Watching the generic computer-animated “Ratchet & Clank,” you’re flooded with reminders of familiar characters. The hero Ratchet — a lombax, a frisky creature with big ears and eyes, who aspires to join the Galactic Rangers, protectors of the galaxy evoking the Green Lantern Corps — has the small physique and intent expression of an evolved Sonic the Hedgehog. His brainy sidekick, the robotic Clank, resembles a diminutive take on the title character from “The Iron Giant”; his voice could be a bookwormish twist on Marvin the Martian’s. When Ratchet (voiced by James Arnold Taylor) succeeds in entering the ranks of the Rangers, he finds that the vain bluster of their leader, Captain Qwark (Jim Ward, reproducing Patrick Warburton’s pompous shtick in “The Tick”), to be hollow. Qwark’s flaws are most evident when the universe is threatened by the evil ex-Ranger Dr. Nefarious (Armin Shimerman), a distant cousin to Will Ferrell’s villain in “Megamind.” Other shopworn aspects — Ratchet’s modest origins as a rocket mechanic who, his boss says, should “dream smaller”; a rapacious antagonist (Paul Giamatti, in sinister-capitalist mode) aided by an oversize thug (Sylvester Stallone) — prompted tired eye rolls, as did the trite motivations and frenetic aerial acrobatics. It comes as no surprise that “Ratchet & Clank” is built around a PlayStation video game series that first appeared in 2002. But of course. It has little story to tell and few ideas to offer. Just a great deal of product to sell. ANDY WEBSTER “Ratchet & Clank” is rated PG (Parental guidance suggested) for — what? Clichés?` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `Watching the generic computer-animated “Ratchet & Clank,” you’re flooded with reminders of familiar characters. The hero Ratchet — a lombax, a frisky creature with big ears and eyes, who aspires to join the Galactic Rangers, protectors of the galaxy evoking the Green Lantern Corps — has the small physique and intent expression of an evolved Sonic the Hedgehog. His brainy sidekick, the robotic Clank, resembles a diminutive take on the title character from “The Iron Giant”; his voice could be a bookwormish twist on Marvin the Martian’s. When Ratchet (voiced by James Arnold Taylor) succeeds in entering the ranks of the Rangers, he finds that the vain bluster of their leader, Captain Qwark (Jim Ward, reproducing Patrick Warburton’s pompous shtick in “The Tick”), to be hollow. Qwark’s flaws are most evident when the universe is threatened by the evil ex-Ranger Dr. Nefarious (Armin Shimerman), a distant cousin to Will Ferrell’s villain in “Megamind.” Other shopworn aspects — Ratchet’s modest origins as a rocket mechanic who, his boss says, should “dream smaller”; a rapacious antagonist (Paul Giamatti, in sinister-capitalist mode) aided by an oversize thug (Sylvester Stallone) — prompted tired eye rolls, as did the trite motivations and frenetic aerial acrobatics. It comes as no surprise that “Ratchet & Clank” is built around a PlayStation video game series that first appeared in 2002. But of course. It has little story to tell and few ideas to offer. Just a great deal of product to sell. ANDY WEBSTER “Ratchet & Clank” is rated PG (Parental guidance suggested) for — what? Clichés?` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_synopsis` will be updated with value `` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `City of Lost Children, The (Cité des enfants perdus, La) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] IMAGES:

[16:32:37] TAXONOMIES:

[16:32:37] - Importing taxonomy `resource_category` ...

[16:32:37] - Attempted to create parent Resource resource_category `Modernity`, duplicate detected. Importing Resource to existing `Modernity` resource_category, ID 681, slug `modernity` ...

[16:32:37] - Attempted to create parent Resource resource_category `New testament`, duplicate detected. Importing Resource to existing `New testament` resource_category, ID 672, slug `new-testament` ...

[16:32:37] - Attempted to create parent Resource resource_category `Timothy`, duplicate detected. Importing Resource to existing `Timothy` resource_category, ID 678, slug `timothy` ...

[16:32:37] - Importing taxonomy `video_contributor` ...

[16:32:37] - Importing taxonomy `document_contributor` ...

[16:32:37] CREATED `City of Lost Children, The (Cité des enfants perdus, La) (1995)` `Resource` (ID: 2356)

[16:32:37] ACTION: pmxi_saved_post

[16:32:37] ACTION: pmxi_after_post_import

[16:32:37] ---

[16:32:37] Record #30

[16:32:37] ACTION: pmxi_before_post_import ...

[16:32:37] Combine all data for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)`...

[16:32:37] Find corresponding article among previously imported for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)`...

[16:32:37] Duplicate post wasn't found with unique key `1722`...

[16:32:37] Applying filter `pmxi_article_data` for `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)`

[16:32:37] CREATING `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` `Resource`

[16:32:37] Associate post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` with current import ...

[16:32:37] CUSTOM FIELDS:

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_video` will be updated with value `1` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `Every morning, the old man in the quiet drama “Sin Alas” opens a little folding table outside his splendidly dilapidated grand building. A writer who lived and loved through the Cuban Revolution, Luis Vargas now sells bric-a-brac that no one seems to buy. Stooped and faded, his white mustache drooping over his downturned mouth, he looks out on a Havana that’s teeming with compañeros and trembling with signs of upheaval that are telegraphed by newspaper headlines highlighting China in one column and President Obama in the other. The world that Luis helped build will soon be a memory. In “Sin Alas,” American cruise ships have yet to drop anchor again in Havana Harbor. That’s the strength and appeal of this modestly scaled movie, which was written and directed by Ben Chace, an American who shot in Cuba before its new diplomatic relationship with the United States had taken root. The Cuba here is still the time capsule stocked with DeSoto cruisers, a crumbled infrastructure and paperwork filled out by hand. For Luis (Carlos Padrón, who’s Cuban, like the rest of the cast) memory itself is another time capsule, one that he gradually, somewhat disjointedly opens after reading about the death of an old lover, a dancer, Isabela (Yulisleyvís Rodriguez). A memory story, “Sin Alas” follows Luis as he becomes reacquainted with his younger self, both as a young man (Lieter Ledesma) in 1967 and as a child living with his parents. Mr. Chace, working with a small crew that includes the talented cinematographer Sean Price Williams, persuasively recreates a vision of an earlier Havana filled with glamorous true believers, menacing military men and cocktail chatter about revolutionary aesthetics. When Luis picks up Isabela one rainy afternoon, the antiqued scene vaguely suggests the nostalgic reveries of Wong Kar Wai, even with the poster of a gun-toting Fidel Castro marking the 1959 overthrow of Batista’s Cuba. Mr. Chace does his finest work with Mr. Padrón, and together director and actor create a portrayal of a man who, even as he’s stirred to action, seems increasingly burdened by his sentimental education. Mr. Chace’s attempts to piece together Luis’s present and past tend to obscure rather than clarify that portrait; even so, Luis and especially Havana hold your attention. The movie was inspired by the Jorge Luis Borges’s short story “The Zahir,” about an item (a coin, in the story) that instills an obsession in all who come into contact with it. For Luis, Isabela was an obsession who dazzled him and consumed him, and, finally, like so many ideals, become impossible to hold onto. “Sin Alas (Without Wings)” is not rated. Animal lovers should be aware that a bird is sacrificed. The movie is in Spanish with English subtitles, and runs 1 hour 24 minutes.` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_url` will be updated with value `https://vimeo.com/141675` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_document` will be updated with value `1` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_synposis` will be updated with value `Every morning, the old man in the quiet drama “Sin Alas” opens a little folding table outside his splendidly dilapidated grand building. A writer who lived and loved through the Cuban Revolution, Luis Vargas now sells bric-a-brac that no one seems to buy. Stooped and faded, his white mustache drooping over his downturned mouth, he looks out on a Havana that’s teeming with compañeros and trembling with signs of upheaval that are telegraphed by newspaper headlines highlighting China in one column and President Obama in the other. The world that Luis helped build will soon be a memory. In “Sin Alas,” American cruise ships have yet to drop anchor again in Havana Harbor. That’s the strength and appeal of this modestly scaled movie, which was written and directed by Ben Chace, an American who shot in Cuba before its new diplomatic relationship with the United States had taken root. The Cuba here is still the time capsule stocked with DeSoto cruisers, a crumbled infrastructure and paperwork filled out by hand. For Luis (Carlos Padrón, who’s Cuban, like the rest of the cast) memory itself is another time capsule, one that he gradually, somewhat disjointedly opens after reading about the death of an old lover, a dancer, Isabela (Yulisleyvís Rodriguez). A memory story, “Sin Alas” follows Luis as he becomes reacquainted with his younger self, both as a young man (Lieter Ledesma) in 1967 and as a child living with his parents. Mr. Chace, working with a small crew that includes the talented cinematographer Sean Price Williams, persuasively recreates a vision of an earlier Havana filled with glamorous true believers, menacing military men and cocktail chatter about revolutionary aesthetics. When Luis picks up Isabela one rainy afternoon, the antiqued scene vaguely suggests the nostalgic reveries of Wong Kar Wai, even with the poster of a gun-toting Fidel Castro marking the 1959 overthrow of Batista’s Cuba. Mr. Chace does his finest work with Mr. Padrón, and together director and actor create a portrayal of a man who, even as he’s stirred to action, seems increasingly burdened by his sentimental education. Mr. Chace’s attempts to piece together Luis’s present and past tend to obscure rather than clarify that portrait; even so, Luis and especially Havana hold your attention. The movie was inspired by the Jorge Luis Borges’s short story “The Zahir,” about an item (a coin, in the story) that instills an obsession in all who come into contact with it. For Luis, Isabela was an obsession who dazzled him and consumed him, and, finally, like so many ideals, become impossible to hold onto. “Sin Alas (Without Wings)” is not rated. Animal lovers should be aware that a bird is sacrificed. The movie is in Spanish with English subtitles, and runs 1 hour 24 minutes.` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `Every morning, the old man in the quiet drama “Sin Alas” opens a little folding table outside his splendidly dilapidated grand building. A writer who lived and loved through the Cuban Revolution, Luis Vargas now sells bric-a-brac that no one seems to buy. Stooped and faded, his white mustache drooping over his downturned mouth, he looks out on a Havana that’s teeming with compañeros and trembling with signs of upheaval that are telegraphed by newspaper headlines highlighting China in one column and President Obama in the other. The world that Luis helped build will soon be a memory. In “Sin Alas,” American cruise ships have yet to drop anchor again in Havana Harbor. That’s the strength and appeal of this modestly scaled movie, which was written and directed by Ben Chace, an American who shot in Cuba before its new diplomatic relationship with the United States had taken root. The Cuba here is still the time capsule stocked with DeSoto cruisers, a crumbled infrastructure and paperwork filled out by hand. For Luis (Carlos Padrón, who’s Cuban, like the rest of the cast) memory itself is another time capsule, one that he gradually, somewhat disjointedly opens after reading about the death of an old lover, a dancer, Isabela (Yulisleyvís Rodriguez). A memory story, “Sin Alas” follows Luis as he becomes reacquainted with his younger self, both as a young man (Lieter Ledesma) in 1967 and as a child living with his parents. Mr. Chace, working with a small crew that includes the talented cinematographer Sean Price Williams, persuasively recreates a vision of an earlier Havana filled with glamorous true believers, menacing military men and cocktail chatter about revolutionary aesthetics. When Luis picks up Isabela one rainy afternoon, the antiqued scene vaguely suggests the nostalgic reveries of Wong Kar Wai, even with the poster of a gun-toting Fidel Castro marking the 1959 overthrow of Batista’s Cuba. Mr. Chace does his finest work with Mr. Padrón, and together director and actor create a portrayal of a man who, even as he’s stirred to action, seems increasingly burdened by his sentimental education. Mr. Chace’s attempts to piece together Luis’s present and past tend to obscure rather than clarify that portrait; even so, Luis and especially Havana hold your attention. The movie was inspired by the Jorge Luis Borges’s short story “The Zahir,” about an item (a coin, in the story) that instills an obsession in all who come into contact with it. For Luis, Isabela was an obsession who dazzled him and consumed him, and, finally, like so many ideals, become impossible to hold onto. “Sin Alas (Without Wings)” is not rated. Animal lovers should be aware that a bird is sacrificed. The movie is in Spanish with English subtitles, and runs 1 hour 24 minutes.` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_synopsis` will be updated with value `` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] IMAGES:

[16:32:37] TAXONOMIES:

[16:32:37] - Importing taxonomy `resource_category` ...

[16:32:37] - Attempted to create parent Resource resource_category `Biblical`, duplicate detected. Importing Resource to existing `Biblical` resource_category, ID 667, slug `biblical` ...

[16:32:37] - Attempted to create parent Resource resource_category `New testament`, duplicate detected. Importing Resource to existing `New testament` resource_category, ID 672, slug `new-testament` ...

[16:32:37] - Attempted to create parent Resource resource_category `Revelation`, duplicate detected. Importing Resource to existing `Revelation` resource_category, ID 669, slug `revelation` ...

[16:32:37] - Attempted to create parent Resource resource_category `Timothy`, duplicate detected. Importing Resource to existing `Timothy` resource_category, ID 678, slug `timothy` ...

[16:32:37] - Importing taxonomy `video_contributor` ...

[16:32:37] - Importing taxonomy `document_contributor` ...

[16:32:37] CREATED `Shanghai Triad (Yao a yao yao dao waipo qiao) (1995)` `Resource` (ID: 2357)

[16:32:37] ACTION: pmxi_saved_post

[16:32:37] ACTION: pmxi_after_post_import

[16:32:37] ---

[16:32:37] Record #31

[16:32:37] ACTION: pmxi_before_post_import ...

[16:32:37] Combine all data for post `Dangerous Minds (1995)`...

[16:32:37] Find corresponding article among previously imported for post `Dangerous Minds (1995)`...

[16:32:37] Duplicate post wasn't found with unique key `1723`...

[16:32:37] Applying filter `pmxi_article_data` for `Dangerous Minds (1995)`

[16:32:37] CREATING `Dangerous Minds (1995)` `Resource`

[16:32:37] Associate post `Dangerous Minds (1995)` with current import ...

[16:32:37] CUSTOM FIELDS:

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_video` will be updated with value `1` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `Judging from “The American Side,” detectives who say things like “that’s a gene pool screaming for chlorine” and “there’s a joker in every deck” have spent the past several decades hiding in Buffalo — not an obvious graveyard for the spirits of Raymond Chandler and Mickey Spillane. There, Charlie Paczynski (Greg Stuhr), a private investigator, has a side racket in blackmail with Kat (Kelsey Siepser), a stripper. When Kat is murdered, Charlie uncovers a mystery that involves enigmatic women (Camilla Belle, Alicja Bachleda), estranged energy magnates (Matthew Broderick, Robert Forster), the unrealized inventions of Nikola Tesla and — seemingly — whatever other character actors (Robert Vaughn, Harris Yulin, Janeane Garofalo) dropped by the set. The director, Jenna Ricker, who wrote the script with Mr. Stuhr, has made a cinephile’s movie, a throwback that delights in homages (to “Kiss Me Deadly” and “North by Northwest,” among others) and an off-kilter sense of period (Charlie is never shown using a cellphone). If the self-consciousness can be charming, it also prevents “The American Side” from becoming fully its own film. The movie plays like an exercise for the cast members, who labor with the stylized dialogue, and for an audience flattered at catching a reference. Still, “The American Side” shows glimmers of ingenuity, both with its use of Tesla mystique and with atmospheric location work that makes Buffalo a presence. The title refers to the American side of Niagara Falls. To paraphrase a line from Mr. Forster, that’s the one you don’t want to roll down in a barrel.` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_url` will be updated with value `https://vimeo.com/141965` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_document` will be updated with value `1` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_synposis` will be updated with value `Judging from “The American Side,” detectives who say things like “that’s a gene pool screaming for chlorine” and “there’s a joker in every deck” have spent the past several decades hiding in Buffalo — not an obvious graveyard for the spirits of Raymond Chandler and Mickey Spillane. There, Charlie Paczynski (Greg Stuhr), a private investigator, has a side racket in blackmail with Kat (Kelsey Siepser), a stripper. When Kat is murdered, Charlie uncovers a mystery that involves enigmatic women (Camilla Belle, Alicja Bachleda), estranged energy magnates (Matthew Broderick, Robert Forster), the unrealized inventions of Nikola Tesla and — seemingly — whatever other character actors (Robert Vaughn, Harris Yulin, Janeane Garofalo) dropped by the set. The director, Jenna Ricker, who wrote the script with Mr. Stuhr, has made a cinephile’s movie, a throwback that delights in homages (to “Kiss Me Deadly” and “North by Northwest,” among others) and an off-kilter sense of period (Charlie is never shown using a cellphone). If the self-consciousness can be charming, it also prevents “The American Side” from becoming fully its own film. The movie plays like an exercise for the cast members, who labor with the stylized dialogue, and for an audience flattered at catching a reference. Still, “The American Side” shows glimmers of ingenuity, both with its use of Tesla mystique and with atmospheric location work that makes Buffalo a presence. The title refers to the American side of Niagara Falls. To paraphrase a line from Mr. Forster, that’s the one you don’t want to roll down in a barrel.` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `Judging from “The American Side,” detectives who say things like “that’s a gene pool screaming for chlorine” and “there’s a joker in every deck” have spent the past several decades hiding in Buffalo — not an obvious graveyard for the spirits of Raymond Chandler and Mickey Spillane. There, Charlie Paczynski (Greg Stuhr), a private investigator, has a side racket in blackmail with Kat (Kelsey Siepser), a stripper. When Kat is murdered, Charlie uncovers a mystery that involves enigmatic women (Camilla Belle, Alicja Bachleda), estranged energy magnates (Matthew Broderick, Robert Forster), the unrealized inventions of Nikola Tesla and — seemingly — whatever other character actors (Robert Vaughn, Harris Yulin, Janeane Garofalo) dropped by the set. The director, Jenna Ricker, who wrote the script with Mr. Stuhr, has made a cinephile’s movie, a throwback that delights in homages (to “Kiss Me Deadly” and “North by Northwest,” among others) and an off-kilter sense of period (Charlie is never shown using a cellphone). If the self-consciousness can be charming, it also prevents “The American Side” from becoming fully its own film. The movie plays like an exercise for the cast members, who labor with the stylized dialogue, and for an audience flattered at catching a reference. Still, “The American Side” shows glimmers of ingenuity, both with its use of Tesla mystique and with atmospheric location work that makes Buffalo a presence. The title refers to the American side of Niagara Falls. To paraphrase a line from Mr. Forster, that’s the one you don’t want to roll down in a barrel.` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_synopsis` will be updated with value `` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Dangerous Minds (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

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[16:32:37] - Importing taxonomy `video_contributor` ...

[16:32:37] - Importing taxonomy `document_contributor` ...

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[16:32:37] ACTION: pmxi_saved_post

[16:32:37] ACTION: pmxi_after_post_import

[16:32:37] ---

[16:32:37] Record #32

[16:32:37] ACTION: pmxi_before_post_import ...

[16:32:37] Combine all data for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)`...

[16:32:37] Find corresponding article among previously imported for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)`...

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[16:32:37] Applying filter `pmxi_article_data` for `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)`

[16:32:37] CREATING `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` `Resource`

[16:32:37] Associate post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` with current import ...

[16:32:37] CUSTOM FIELDS:

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_video` will be updated with value `1` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `The drama of the gifted child is, at least in movies, a gift that keeps on giving. That’s particularly true in American independent cinema, with its stories of suffering children, monstrous mothers and abusive fathers. There are moments when it feels as if the movie you’re watching was written on a laptop propped up by a Syd Field screenwriting book and “The Drama of the Gifted Child,” Alice Miller’s 1979 book about children and parental narcissism. Act 1: Set up the wound. Act 2: Confront the wound. Act 3: Resolve the wound. “The Family Fang,” adapted from the Kevin Wilson novel, with a script by David Lindsay-Abaire, tells the story of another unhappy family. It turns on siblings, Annie (Nicole Kidman) and Baxter (Jason Bateman, who also directed), raised by wolves. Specifically, Caleb (Christopher Walken) and Camille (Maryann Plunkett), performance artists who once upon a time used their children in improvised public events. For Caleb and Camille — who referred to their kids as Child A and Child B — art came before everything, including health and safety. For years, the children smilingly played along. They were good little actors; they were also just artistic material, like clay. By the time the children are grown, the family dynamic has shifted in obvious and oblique ways. Annie and Baxter keep their physical distance from their parents. But the ties that bind body and soul are hard to cut, and the siblings are still playing supporting roles and still not in control of their lives. Annie is an actress seemingly on a downward spiral who, while shooting a movie, is resisting pressure to appear topless. Baxter is trying and failing to finish a second novel. Reluctantly, he takes a magazine assignment to write about war veterans, a gig that leads to a drunken, woodsy bacchanal with potato guns and lands him in a hospital with a head injury. The injury becomes the justification for one of those fraught family reunions filled with awkward silences, furious eruptions and hushed huddles. Caleb and Camille have faded, becoming art-history footnotes, but their hold on their children remains. That’s the story, at any rate, though it takes time to buy that any of these folks are related, partly because the more famous actors overwhelm their roles. In their early scenes together, the recessive Mr. Bateman (he’s an actor against which other actors bounce) and the industrious Ms. Kidman (you can see her working even when she goes blank) come across as two people who’ve just met. It’s especially implausible that their quirky yet bland characters could have sprung from the loins of an extraterrestrial like Mr. Walken. Everything shifts in a dinner scene when the family relations emerge with geometric clarity: the charming, domineering father who’s oblivious to the nervously accommodating mother and the exasperated, haplessly stuck adult children. Mr. Bateman’s direction of the actors is especially sensitive in this and other tricky scenes, showing a delicacy with emotional textures that isn’t always matched by the story, especially when Annie and Baxter speak in therapeutic clichés. Thankfully, most of these spill out late after the story has jumped around in time, toggling between the present and flashbacks to Caleb and Camille’s happenings (Jason Butler Harner and Kathryn Hahn play the younger versions). Those scenes expose the dangers of their performances but also the thrill. The tragedy isn’t that Caleb and Camille can’t tell the difference between art and life, but that they could make only one seem important. “The Family Fang” is rated R (Under 17 requires accompanying parent or adult guardian). Adult language. Running time: 1 hour 47 minutes.` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_url` will be updated with value `https://vimeo.com/142409` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_document` will be updated with value `1` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_synposis` will be updated with value `The drama of the gifted child is, at least in movies, a gift that keeps on giving. That’s particularly true in American independent cinema, with its stories of suffering children, monstrous mothers and abusive fathers. There are moments when it feels as if the movie you’re watching was written on a laptop propped up by a Syd Field screenwriting book and “The Drama of the Gifted Child,” Alice Miller’s 1979 book about children and parental narcissism. Act 1: Set up the wound. Act 2: Confront the wound. Act 3: Resolve the wound. “The Family Fang,” adapted from the Kevin Wilson novel, with a script by David Lindsay-Abaire, tells the story of another unhappy family. It turns on siblings, Annie (Nicole Kidman) and Baxter (Jason Bateman, who also directed), raised by wolves. Specifically, Caleb (Christopher Walken) and Camille (Maryann Plunkett), performance artists who once upon a time used their children in improvised public events. For Caleb and Camille — who referred to their kids as Child A and Child B — art came before everything, including health and safety. For years, the children smilingly played along. They were good little actors; they were also just artistic material, like clay. By the time the children are grown, the family dynamic has shifted in obvious and oblique ways. Annie and Baxter keep their physical distance from their parents. But the ties that bind body and soul are hard to cut, and the siblings are still playing supporting roles and still not in control of their lives. Annie is an actress seemingly on a downward spiral who, while shooting a movie, is resisting pressure to appear topless. Baxter is trying and failing to finish a second novel. Reluctantly, he takes a magazine assignment to write about war veterans, a gig that leads to a drunken, woodsy bacchanal with potato guns and lands him in a hospital with a head injury. The injury becomes the justification for one of those fraught family reunions filled with awkward silences, furious eruptions and hushed huddles. Caleb and Camille have faded, becoming art-history footnotes, but their hold on their children remains. That’s the story, at any rate, though it takes time to buy that any of these folks are related, partly because the more famous actors overwhelm their roles. In their early scenes together, the recessive Mr. Bateman (he’s an actor against which other actors bounce) and the industrious Ms. Kidman (you can see her working even when she goes blank) come across as two people who’ve just met. It’s especially implausible that their quirky yet bland characters could have sprung from the loins of an extraterrestrial like Mr. Walken. Everything shifts in a dinner scene when the family relations emerge with geometric clarity: the charming, domineering father who’s oblivious to the nervously accommodating mother and the exasperated, haplessly stuck adult children. Mr. Bateman’s direction of the actors is especially sensitive in this and other tricky scenes, showing a delicacy with emotional textures that isn’t always matched by the story, especially when Annie and Baxter speak in therapeutic clichés. Thankfully, most of these spill out late after the story has jumped around in time, toggling between the present and flashbacks to Caleb and Camille’s happenings (Jason Butler Harner and Kathryn Hahn play the younger versions). Those scenes expose the dangers of their performances but also the thrill. The tragedy isn’t that Caleb and Camille can’t tell the difference between art and life, but that they could make only one seem important. “The Family Fang” is rated R (Under 17 requires accompanying parent or adult guardian). Adult language. Running time: 1 hour 47 minutes.` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `The drama of the gifted child is, at least in movies, a gift that keeps on giving. That’s particularly true in American independent cinema, with its stories of suffering children, monstrous mothers and abusive fathers. There are moments when it feels as if the movie you’re watching was written on a laptop propped up by a Syd Field screenwriting book and “The Drama of the Gifted Child,” Alice Miller’s 1979 book about children and parental narcissism. Act 1: Set up the wound. Act 2: Confront the wound. Act 3: Resolve the wound. “The Family Fang,” adapted from the Kevin Wilson novel, with a script by David Lindsay-Abaire, tells the story of another unhappy family. It turns on siblings, Annie (Nicole Kidman) and Baxter (Jason Bateman, who also directed), raised by wolves. Specifically, Caleb (Christopher Walken) and Camille (Maryann Plunkett), performance artists who once upon a time used their children in improvised public events. For Caleb and Camille — who referred to their kids as Child A and Child B — art came before everything, including health and safety. For years, the children smilingly played along. They were good little actors; they were also just artistic material, like clay. By the time the children are grown, the family dynamic has shifted in obvious and oblique ways. Annie and Baxter keep their physical distance from their parents. But the ties that bind body and soul are hard to cut, and the siblings are still playing supporting roles and still not in control of their lives. Annie is an actress seemingly on a downward spiral who, while shooting a movie, is resisting pressure to appear topless. Baxter is trying and failing to finish a second novel. Reluctantly, he takes a magazine assignment to write about war veterans, a gig that leads to a drunken, woodsy bacchanal with potato guns and lands him in a hospital with a head injury. The injury becomes the justification for one of those fraught family reunions filled with awkward silences, furious eruptions and hushed huddles. Caleb and Camille have faded, becoming art-history footnotes, but their hold on their children remains. That’s the story, at any rate, though it takes time to buy that any of these folks are related, partly because the more famous actors overwhelm their roles. In their early scenes together, the recessive Mr. Bateman (he’s an actor against which other actors bounce) and the industrious Ms. Kidman (you can see her working even when she goes blank) come across as two people who’ve just met. It’s especially implausible that their quirky yet bland characters could have sprung from the loins of an extraterrestrial like Mr. Walken. Everything shifts in a dinner scene when the family relations emerge with geometric clarity: the charming, domineering father who’s oblivious to the nervously accommodating mother and the exasperated, haplessly stuck adult children. Mr. Bateman’s direction of the actors is especially sensitive in this and other tricky scenes, showing a delicacy with emotional textures that isn’t always matched by the story, especially when Annie and Baxter speak in therapeutic clichés. Thankfully, most of these spill out late after the story has jumped around in time, toggling between the present and flashbacks to Caleb and Camille’s happenings (Jason Butler Harner and Kathryn Hahn play the younger versions). Those scenes expose the dangers of their performances but also the thrill. The tragedy isn’t that Caleb and Camille can’t tell the difference between art and life, but that they could make only one seem important. “The Family Fang” is rated R (Under 17 requires accompanying parent or adult guardian). Adult language. Running time: 1 hour 47 minutes.` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_synopsis` will be updated with value `` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] IMAGES:

[16:32:37] TAXONOMIES:

[16:32:37] - Importing taxonomy `resource_category` ...

[16:32:37] - Attempted to create parent Resource resource_category `Biblical`, duplicate detected. Importing Resource to existing `Biblical` resource_category, ID 667, slug `biblical` ...

[16:32:37] - Attempted to create parent Resource resource_category `Judges`, duplicate detected. Importing Resource to existing `Judges` resource_category, ID 677, slug `judges` ...

[16:32:37] - Attempted to create parent Resource resource_category `Timothy`, duplicate detected. Importing Resource to existing `Timothy` resource_category, ID 678, slug `timothy` ...

[16:32:37] - Importing taxonomy `video_contributor` ...

[16:32:37] - Importing taxonomy `document_contributor` ...

[16:32:37] CREATED `Twelve Monkeys (a.k.a. 12 Monkeys) (1995)` `Resource` (ID: 2359)

[16:32:37] ACTION: pmxi_saved_post

[16:32:37] ACTION: pmxi_after_post_import

[16:32:37] ---

[16:32:37] Record #33

[16:32:37] ACTION: pmxi_before_post_import ...

[16:32:37] Combine all data for post `Babe (1995)`...

[16:32:37] Find corresponding article among previously imported for post `Babe (1995)`...

[16:32:37] Duplicate post wasn't found with unique key `1725`...

[16:32:37] Applying filter `pmxi_article_data` for `Babe (1995)`

[16:32:37] CREATING `Babe (1995)` `Resource`

[16:32:37] Associate post `Babe (1995)` with current import ...

[16:32:37] CUSTOM FIELDS:

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_video` will be updated with value `1` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `Is “The Huntsman: Winter’s War” the worst movie of the year? It’s too early to say, of course, and it’s a complicated question, since there are so many varieties of bad movie. There are grandiose failures driven by overreaching ambition. There are spectacles of stupefying incompetence. Dumb ideas and baffling choices are never in short supply. Nor are follies and blunders and train wrecks. The conventional wisdom holds that none of these disasters happen on purpose, that nobody ever sets out to make a bad movie. “The Huntsman” challenges that idea, since it seems to be exactly the movie that the money behind it wanted to see made. Its badness is not extreme, but exemplary: It’s everything wrong with Hollywood today stuffed into a little less than two hours. This is especially dispiriting because “Snow White and the Huntsman” — in relation to which this “Huntsman” is both sequel and prequel — was far from a terrible piece of entertainment. It was a dark, blood-tinged modern interpretation of an old fairy tale, with tough Cockney dwarves and a memorable villain in the regal, wrathful person of Charlize Theron’s Ravenna. That movie, directed by Rupert Sanders, could be described as a reimagining of the Snow White story. It found a new idea in old material. “Winter’s War,” in contrast, directed by Cedric Nicolas-Troyan from a many-authored script, is more of a de-imagining. It has no ideas at all, just secondhand and half-baked concepts. Every resonant theme or intriguing story possibility is stripped away and replaced with a ready-made franchise-movie conceit. The filmmakers compensate for emptiness with redundancy. There are two pairs of funny dwarves and two imperious villainesses and a love interest for the title character. (Snow White, played by Kristen Stewart once upon a time in 2011, is no longer around). More is not more. Ravenna has a sister named Freya, who is played by Emily Blunt. Ms. Theron shows up early and late, at one point in a costume of golden feathers that makes her look like the mascot for a superglamorous drive-through fried-chicken joint. Freya, who shoots ice crystals out of her fingertips, presides over a frozen kingdom and is motivated to do evil out of thwarted maternal feelings. This is an interesting example of Hollywood sexism at work. Disappointed love of some kind — romantic in Ravenna’s case, parental in Freya’s — seems to be a requirement for female evildoing. Guys, on the other hand, can be bad just for the power-hungry fun of it. Freya kidnaps children from the lands she conquers and raises them to be ruthless warriors. One of them grows up to be Eric (Chris Hemsworth), the hunky Huntsman who helped Snow White vanquish Ravenna. That momentous victory is pretty much yada yada’ed in the middle of “Winter’s War,” which is mostly about the star-crossed, action-screwball romance between Eric and Sara (Jessica Chastain), a fellow child soldier. The movie is most awkward when it tries to hybridize its bedtime-story, Disney-stamped DNA with the genetic stock of contemporary cable drama. Its ideal audience seems to be 12-year-olds who secretly watch “Game of Thrones” and “Outlander,” or maybe their parents. There is not as much blood and skin on display here, of course, but the movie seems desperate for the grown-up credibility that hints of sex and gore might offer. The dwarves (Nick Frost, Rob Brydon, Sheridan Smith and Alexandra Roach) supply touches of pseudo-naughty humor. Poor Ms. Chastain and Mr. Hemsworth must spar and swear their love in Scottish accents straight from the Groundskeeper Willie Academy of Dialect Sciences. “Yer a right galoot,” Sara says to Eric. She also stares stonily into that galoot’s eyes and says, “I’ve done terrible things.” Yes, but Ms. Chastain has also done “Zero Dark Thirty” and “The Help” and “The Tree of Life,” so there’s no need for her to be so hard on herself. But there’s also no need for anyone to keep trying to spin beloved fairy tales into second-rate franchises. “The Huntsman: Winter’s War” is rated PG-13 (Parents strongly cautioned) because it wants to be taken seriously, I guess. Running time: 1 hour 48 minutes.` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_url` will be updated with value `https://vimeo.com/143360` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_document` will be updated with value `1` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_synposis` will be updated with value `Is “The Huntsman: Winter’s War” the worst movie of the year? It’s too early to say, of course, and it’s a complicated question, since there are so many varieties of bad movie. There are grandiose failures driven by overreaching ambition. There are spectacles of stupefying incompetence. Dumb ideas and baffling choices are never in short supply. Nor are follies and blunders and train wrecks. The conventional wisdom holds that none of these disasters happen on purpose, that nobody ever sets out to make a bad movie. “The Huntsman” challenges that idea, since it seems to be exactly the movie that the money behind it wanted to see made. Its badness is not extreme, but exemplary: It’s everything wrong with Hollywood today stuffed into a little less than two hours. This is especially dispiriting because “Snow White and the Huntsman” — in relation to which this “Huntsman” is both sequel and prequel — was far from a terrible piece of entertainment. It was a dark, blood-tinged modern interpretation of an old fairy tale, with tough Cockney dwarves and a memorable villain in the regal, wrathful person of Charlize Theron’s Ravenna. That movie, directed by Rupert Sanders, could be described as a reimagining of the Snow White story. It found a new idea in old material. “Winter’s War,” in contrast, directed by Cedric Nicolas-Troyan from a many-authored script, is more of a de-imagining. It has no ideas at all, just secondhand and half-baked concepts. Every resonant theme or intriguing story possibility is stripped away and replaced with a ready-made franchise-movie conceit. The filmmakers compensate for emptiness with redundancy. There are two pairs of funny dwarves and two imperious villainesses and a love interest for the title character. (Snow White, played by Kristen Stewart once upon a time in 2011, is no longer around). More is not more. Ravenna has a sister named Freya, who is played by Emily Blunt. Ms. Theron shows up early and late, at one point in a costume of golden feathers that makes her look like the mascot for a superglamorous drive-through fried-chicken joint. Freya, who shoots ice crystals out of her fingertips, presides over a frozen kingdom and is motivated to do evil out of thwarted maternal feelings. This is an interesting example of Hollywood sexism at work. Disappointed love of some kind — romantic in Ravenna’s case, parental in Freya’s — seems to be a requirement for female evildoing. Guys, on the other hand, can be bad just for the power-hungry fun of it. Freya kidnaps children from the lands she conquers and raises them to be ruthless warriors. One of them grows up to be Eric (Chris Hemsworth), the hunky Huntsman who helped Snow White vanquish Ravenna. That momentous victory is pretty much yada yada’ed in the middle of “Winter’s War,” which is mostly about the star-crossed, action-screwball romance between Eric and Sara (Jessica Chastain), a fellow child soldier. The movie is most awkward when it tries to hybridize its bedtime-story, Disney-stamped DNA with the genetic stock of contemporary cable drama. Its ideal audience seems to be 12-year-olds who secretly watch “Game of Thrones” and “Outlander,” or maybe their parents. There is not as much blood and skin on display here, of course, but the movie seems desperate for the grown-up credibility that hints of sex and gore might offer. The dwarves (Nick Frost, Rob Brydon, Sheridan Smith and Alexandra Roach) supply touches of pseudo-naughty humor. Poor Ms. Chastain and Mr. Hemsworth must spar and swear their love in Scottish accents straight from the Groundskeeper Willie Academy of Dialect Sciences. “Yer a right galoot,” Sara says to Eric. She also stares stonily into that galoot’s eyes and says, “I’ve done terrible things.” Yes, but Ms. Chastain has also done “Zero Dark Thirty” and “The Help” and “The Tree of Life,” so there’s no need for her to be so hard on herself. But there’s also no need for anyone to keep trying to spin beloved fairy tales into second-rate franchises. “The Huntsman: Winter’s War” is rated PG-13 (Parents strongly cautioned) because it wants to be taken seriously, I guess. Running time: 1 hour 48 minutes.` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `Is “The Huntsman: Winter’s War” the worst movie of the year? It’s too early to say, of course, and it’s a complicated question, since there are so many varieties of bad movie. There are grandiose failures driven by overreaching ambition. There are spectacles of stupefying incompetence. Dumb ideas and baffling choices are never in short supply. Nor are follies and blunders and train wrecks. The conventional wisdom holds that none of these disasters happen on purpose, that nobody ever sets out to make a bad movie. “The Huntsman” challenges that idea, since it seems to be exactly the movie that the money behind it wanted to see made. Its badness is not extreme, but exemplary: It’s everything wrong with Hollywood today stuffed into a little less than two hours. This is especially dispiriting because “Snow White and the Huntsman” — in relation to which this “Huntsman” is both sequel and prequel — was far from a terrible piece of entertainment. It was a dark, blood-tinged modern interpretation of an old fairy tale, with tough Cockney dwarves and a memorable villain in the regal, wrathful person of Charlize Theron’s Ravenna. That movie, directed by Rupert Sanders, could be described as a reimagining of the Snow White story. It found a new idea in old material. “Winter’s War,” in contrast, directed by Cedric Nicolas-Troyan from a many-authored script, is more of a de-imagining. It has no ideas at all, just secondhand and half-baked concepts. Every resonant theme or intriguing story possibility is stripped away and replaced with a ready-made franchise-movie conceit. The filmmakers compensate for emptiness with redundancy. There are two pairs of funny dwarves and two imperious villainesses and a love interest for the title character. (Snow White, played by Kristen Stewart once upon a time in 2011, is no longer around). More is not more. Ravenna has a sister named Freya, who is played by Emily Blunt. Ms. Theron shows up early and late, at one point in a costume of golden feathers that makes her look like the mascot for a superglamorous drive-through fried-chicken joint. Freya, who shoots ice crystals out of her fingertips, presides over a frozen kingdom and is motivated to do evil out of thwarted maternal feelings. This is an interesting example of Hollywood sexism at work. Disappointed love of some kind — romantic in Ravenna’s case, parental in Freya’s — seems to be a requirement for female evildoing. Guys, on the other hand, can be bad just for the power-hungry fun of it. Freya kidnaps children from the lands she conquers and raises them to be ruthless warriors. One of them grows up to be Eric (Chris Hemsworth), the hunky Huntsman who helped Snow White vanquish Ravenna. That momentous victory is pretty much yada yada’ed in the middle of “Winter’s War,” which is mostly about the star-crossed, action-screwball romance between Eric and Sara (Jessica Chastain), a fellow child soldier. The movie is most awkward when it tries to hybridize its bedtime-story, Disney-stamped DNA with the genetic stock of contemporary cable drama. Its ideal audience seems to be 12-year-olds who secretly watch “Game of Thrones” and “Outlander,” or maybe their parents. There is not as much blood and skin on display here, of course, but the movie seems desperate for the grown-up credibility that hints of sex and gore might offer. The dwarves (Nick Frost, Rob Brydon, Sheridan Smith and Alexandra Roach) supply touches of pseudo-naughty humor. Poor Ms. Chastain and Mr. Hemsworth must spar and swear their love in Scottish accents straight from the Groundskeeper Willie Academy of Dialect Sciences. “Yer a right galoot,” Sara says to Eric. She also stares stonily into that galoot’s eyes and says, “I’ve done terrible things.” Yes, but Ms. Chastain has also done “Zero Dark Thirty” and “The Help” and “The Tree of Life,” so there’s no need for her to be so hard on herself. But there’s also no need for anyone to keep trying to spin beloved fairy tales into second-rate franchises. “The Huntsman: Winter’s War” is rated PG-13 (Parents strongly cautioned) because it wants to be taken seriously, I guess. Running time: 1 hour 48 minutes.` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_synopsis` will be updated with value `` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Babe (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] IMAGES:

[16:32:37] TAXONOMIES:

[16:32:37] - Importing taxonomy `resource_category` ...

[16:32:37] - Attempted to create parent Resource resource_category `Biblical`, duplicate detected. Importing Resource to existing `Biblical` resource_category, ID 667, slug `biblical` ...

[16:32:37] - Attempted to create parent Resource resource_category `New testament`, duplicate detected. Importing Resource to existing `New testament` resource_category, ID 672, slug `new-testament` ...

[16:32:37] - Attempted to create parent Resource resource_category `Old testament`, duplicate detected. Importing Resource to existing `Old testament` resource_category, ID 670, slug `old-testament` ...

[16:32:37] - Attempted to create parent Resource resource_category `Revelation`, duplicate detected. Importing Resource to existing `Revelation` resource_category, ID 669, slug `revelation` ...

[16:32:37] - Importing taxonomy `video_contributor` ...

[16:32:37] - Importing taxonomy `document_contributor` ...

[16:32:37] CREATED `Babe (1995)` `Resource` (ID: 2360)

[16:32:37] ACTION: pmxi_saved_post

[16:32:37] ACTION: pmxi_after_post_import

[16:32:37] ---

[16:32:37] Record #34

[16:32:37] ACTION: pmxi_before_post_import ...

[16:32:37] Combine all data for post `Carrington (1995)`...

[16:32:37] Find corresponding article among previously imported for post `Carrington (1995)`...

[16:32:37] Duplicate post wasn't found with unique key `1726`...

[16:32:37] Applying filter `pmxi_article_data` for `Carrington (1995)`

[16:32:37] CREATING `Carrington (1995)` `Resource`

[16:32:37] Associate post `Carrington (1995)` with current import ...

[16:32:37] CUSTOM FIELDS:

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_video` will be updated with value `1` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `It’s time for Dev Patel to add fresh paints to his palette. This talented actor — who got his feature start in Danny Boyle’s “Slumdog Millionaire” — has largely specialized in handsome, earnest and well-meaning characters (in both “Best Exotic Marigold Hotel” movies and the canceled HBO series “The Newsroom”). Now comes “The Man Who Knew Infinity,” Matthew Brown’s respectful and, yes, earnest biopic about the early-20th-century mathematician Srinivasa Ramanujan, who found the divine in integers. Ramanujan, who was mentored by the Cambridge professor G. H. Hardy, eventually became the first Indian to hold a fellowship at Trinity College. We first meet the young, married Ramanujan in a temple in Madras (now Chennai) in India, scrawling mathematical notations like a man possessed. Despite the skepticism of his British boss (a haughty Stephen Fry, barely seen), Ramanujan contacts Hardy (Jeremy Irons) at Trinity with his ideas. And soon he leaves his wife and mother for England. Initially resistant to proofs, he eventually delivers the goods — which yield, among other things, discoveries in the partition of numbers — defying Cambridge bigots and warming the heart of the clinical, atheistic Hardy, as well as those of the scholars Bertrand Russell (Jeremy Northam) and J. E. Littlewood (Toby Jones). Tidy production values are present (Cambridge locations lend verisimilitude), as is a convenient historical omission (specifically, the real Mr. Ramanujan’s marriage to a 10-year-old girl when he was 21). Mr. Irons handily hits the emotional beats, as does Mr. Patel, as Ramanujan confronts incipient tuberculosis. But perhaps Mr. Patel is now ready to try his hand at a sinner, not a saint. “The Man Who Knew Infinity” is rated PG-13 (Parents strongly cautioned) for thematic elements and smoking.` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_url` will be updated with value `https://vimeo.com/143594` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_document` will be updated with value `1` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_synposis` will be updated with value `It’s time for Dev Patel to add fresh paints to his palette. This talented actor — who got his feature start in Danny Boyle’s “Slumdog Millionaire” — has largely specialized in handsome, earnest and well-meaning characters (in both “Best Exotic Marigold Hotel” movies and the canceled HBO series “The Newsroom”). Now comes “The Man Who Knew Infinity,” Matthew Brown’s respectful and, yes, earnest biopic about the early-20th-century mathematician Srinivasa Ramanujan, who found the divine in integers. Ramanujan, who was mentored by the Cambridge professor G. H. Hardy, eventually became the first Indian to hold a fellowship at Trinity College. We first meet the young, married Ramanujan in a temple in Madras (now Chennai) in India, scrawling mathematical notations like a man possessed. Despite the skepticism of his British boss (a haughty Stephen Fry, barely seen), Ramanujan contacts Hardy (Jeremy Irons) at Trinity with his ideas. And soon he leaves his wife and mother for England. Initially resistant to proofs, he eventually delivers the goods — which yield, among other things, discoveries in the partition of numbers — defying Cambridge bigots and warming the heart of the clinical, atheistic Hardy, as well as those of the scholars Bertrand Russell (Jeremy Northam) and J. E. Littlewood (Toby Jones). Tidy production values are present (Cambridge locations lend verisimilitude), as is a convenient historical omission (specifically, the real Mr. Ramanujan’s marriage to a 10-year-old girl when he was 21). Mr. Irons handily hits the emotional beats, as does Mr. Patel, as Ramanujan confronts incipient tuberculosis. But perhaps Mr. Patel is now ready to try his hand at a sinner, not a saint. “The Man Who Knew Infinity” is rated PG-13 (Parents strongly cautioned) for thematic elements and smoking.` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `It’s time for Dev Patel to add fresh paints to his palette. This talented actor — who got his feature start in Danny Boyle’s “Slumdog Millionaire” — has largely specialized in handsome, earnest and well-meaning characters (in both “Best Exotic Marigold Hotel” movies and the canceled HBO series “The Newsroom”). Now comes “The Man Who Knew Infinity,” Matthew Brown’s respectful and, yes, earnest biopic about the early-20th-century mathematician Srinivasa Ramanujan, who found the divine in integers. Ramanujan, who was mentored by the Cambridge professor G. H. Hardy, eventually became the first Indian to hold a fellowship at Trinity College. We first meet the young, married Ramanujan in a temple in Madras (now Chennai) in India, scrawling mathematical notations like a man possessed. Despite the skepticism of his British boss (a haughty Stephen Fry, barely seen), Ramanujan contacts Hardy (Jeremy Irons) at Trinity with his ideas. And soon he leaves his wife and mother for England. Initially resistant to proofs, he eventually delivers the goods — which yield, among other things, discoveries in the partition of numbers — defying Cambridge bigots and warming the heart of the clinical, atheistic Hardy, as well as those of the scholars Bertrand Russell (Jeremy Northam) and J. E. Littlewood (Toby Jones). Tidy production values are present (Cambridge locations lend verisimilitude), as is a convenient historical omission (specifically, the real Mr. Ramanujan’s marriage to a 10-year-old girl when he was 21). Mr. Irons handily hits the emotional beats, as does Mr. Patel, as Ramanujan confronts incipient tuberculosis. But perhaps Mr. Patel is now ready to try his hand at a sinner, not a saint. “The Man Who Knew Infinity” is rated PG-13 (Parents strongly cautioned) for thematic elements and smoking.` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_synopsis` will be updated with value `` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Carrington (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] IMAGES:

[16:32:37] TAXONOMIES:

[16:32:37] - Importing taxonomy `resource_category` ...

[16:32:37] - Attempted to create parent Resource resource_category `History`, duplicate detected. Importing Resource to existing `History` resource_category, ID 679, slug `history` ...

[16:32:37] - Attempted to create parent Resource resource_category `Modernity`, duplicate detected. Importing Resource to existing `Modernity` resource_category, ID 681, slug `modernity` ...

[16:32:37] - Importing taxonomy `video_contributor` ...

[16:32:37] - Importing taxonomy `document_contributor` ...

[16:32:37] CREATED `Carrington (1995)` `Resource` (ID: 2361)

[16:32:37] ACTION: pmxi_saved_post

[16:32:37] ACTION: pmxi_after_post_import

[16:32:37] ---

[16:32:37] Record #35

[16:32:37] ACTION: pmxi_before_post_import ...

[16:32:37] Combine all data for post `Dead Man Walking (1995)`...

[16:32:37] Find corresponding article among previously imported for post `Dead Man Walking (1995)`...

[16:32:37] Duplicate post wasn't found with unique key `1727`...

[16:32:37] Applying filter `pmxi_article_data` for `Dead Man Walking (1995)`

[16:32:37] CREATING `Dead Man Walking (1995)` `Resource`

[16:32:37] Associate post `Dead Man Walking (1995)` with current import ...

[16:32:37] CUSTOM FIELDS:

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_video` will be updated with value `1` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `The first time that Marnie Minervini opens her mouth in “The Meddler,” you may wish it were the last. One half of an insistently winning, hopelessly irresistible mother-daughter duet, this buttinsky New Jersey widow (Susan Sarandon) puts the “awl” into call and the “awk” into talk and works both your nerves and ears as she does. Having recently moved to Los Angeles, Marnie has turned her cellphone into an umbilical cord that keeps her hooked to her daughter, Lori (Rose Byrne). “The Meddler” is a tear-drizzled comedy, but I understand if it sounds like a horror movie. It’s a little of both, in truth, with some family melodrama and sweet romance thrown in. Affable, earnest and humanly scaled, “The Meddler” is the kind of entertainment that the studios used to supply by the boatload and that now tends to show up on the small screen. Its emphasis on a mother and daughter relationship, in particular, brings to mind maternal melodramas like the glorious weepie “Stella Dallas” (1937), about a woman who asks her wealthy estranged husband to finish raising their daughter so that the girl can live like the people in movies. The difference being that “The Meddler” is agreeably (unusually) optimistic about human relationships, despite the melancholy edging its comedy. Marnie is the biggest source of the humor, and Ms. Sarandon plays her beautifully in every shade of sunshine. One of those relentlessly “on” people who’s always on the go, Marnie is always talking (including on her cell behind the wheel) and always doing, and always talking while doing. There’s compulsiveness to her meddlesomeness. Marnie doesn’t just call Lori, she does so repeatedly, babbling away as if each call were another clause in a sentence without end (“anyway”). The writer-director Lorene Scafaria leads with her laughs. Marnie enters yakking and keeps the motor running, including in voice-over. The patter is inane, funny, lifelike, and Ms. Sarandon’s Jersey intonations give it a comic topspin. Ms. Scafaria seeds these passages with information — Marnie’s dead husband, Joe, was the love of her life — and you can see the narrative machinery in action. But part of what makes the movie work is its unshowy realism, including yammer that isn’t the stuff of dramatic setup or tension but instead resembles the churn of random observations and pointless asides. The sort that swirls through your head and you sometimes share with someone when you’re unpacking groceries, making dinner or just calling to chat — only funnier. The story begins to catch up to Marnie’s accelerated rhythms when Lori splits for New York to work on a pilot she’s written, leaving her mom alone. Marnie copes with this separation in her usual fashion, calling Lori amid visits to the mall (cue the Crate & Barrel product placements) and visits to Lori’s dogs, Lori’s friends and Lori’s shrink. Marnie has started to see the therapist (Amy Landecker in a quick, deadpan turn) at Lori’s urging, though mostly she seems to go as a way to insinuate herself even more deeply into her daughter’s life. It’s no wonder that Marnie seems like a smother-mother who’s one 911 call away from a restraining order; no wonder too that she seems lonely. It would be easy to put Marnie on the couch, to assume that she’s neurotic rather than, you know, friendly, and that she talks a lot only to fill the silences or because the quiet might bring on the grief and self-reflection. But she’s plenty self-knowing already, thanks, and Ms. Sarandon shows you the self-awareness hovering behind Marnie’s smile and trembling in her pauses. Still, there is work to be done, a life to live, and, in a sense, the movie is a coming-of-later-age story in which a mother learns how to cut the cord one funny, poignant snip at a time and discovers herself in the process. In this, Marnie receives help from a much younger mother, Jillian (Cecily Strong), and a new friend, Zipper (J.K. Simmons), who each peel back layers. The same goes for the movie, which has a humble, utilitarian visual style, except that everyone looks really pretty, Ms. Sarandon, Ms. Byrne and Mr. Simmons included. Part of this is the quality of the Los Angeles light, which here has none of its sunshine-and-noir harshness but instead gives the characters an appealing glow, a glow that after a while feels like adoration. When Marnie looks at Lori — and Lori looks at Marnie — you are watching two people who, despite the nonsense, care for each other deeply. You see their happiness and you share in it too because in “The Meddler” Ms. Scafaria is holding up that softening filter through which each of us sees the funny, maddening, indispensable people with whom we laugh, mourn and, if we’re lucky, find love. “The Meddler” is rated PG-13 (Parents strongly cautioned). I haven’t a clue why. Running time: 1 hour 40 minutes.` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_url` will be updated with value `https://vimeo.com/144221` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_document` will be updated with value `1` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_synposis` will be updated with value `The first time that Marnie Minervini opens her mouth in “The Meddler,” you may wish it were the last. One half of an insistently winning, hopelessly irresistible mother-daughter duet, this buttinsky New Jersey widow (Susan Sarandon) puts the “awl” into call and the “awk” into talk and works both your nerves and ears as she does. Having recently moved to Los Angeles, Marnie has turned her cellphone into an umbilical cord that keeps her hooked to her daughter, Lori (Rose Byrne). “The Meddler” is a tear-drizzled comedy, but I understand if it sounds like a horror movie. It’s a little of both, in truth, with some family melodrama and sweet romance thrown in. Affable, earnest and humanly scaled, “The Meddler” is the kind of entertainment that the studios used to supply by the boatload and that now tends to show up on the small screen. Its emphasis on a mother and daughter relationship, in particular, brings to mind maternal melodramas like the glorious weepie “Stella Dallas” (1937), about a woman who asks her wealthy estranged husband to finish raising their daughter so that the girl can live like the people in movies. The difference being that “The Meddler” is agreeably (unusually) optimistic about human relationships, despite the melancholy edging its comedy. Marnie is the biggest source of the humor, and Ms. Sarandon plays her beautifully in every shade of sunshine. One of those relentlessly “on” people who’s always on the go, Marnie is always talking (including on her cell behind the wheel) and always doing, and always talking while doing. There’s compulsiveness to her meddlesomeness. Marnie doesn’t just call Lori, she does so repeatedly, babbling away as if each call were another clause in a sentence without end (“anyway”). The writer-director Lorene Scafaria leads with her laughs. Marnie enters yakking and keeps the motor running, including in voice-over. The patter is inane, funny, lifelike, and Ms. Sarandon’s Jersey intonations give it a comic topspin. Ms. Scafaria seeds these passages with information — Marnie’s dead husband, Joe, was the love of her life — and you can see the narrative machinery in action. But part of what makes the movie work is its unshowy realism, including yammer that isn’t the stuff of dramatic setup or tension but instead resembles the churn of random observations and pointless asides. The sort that swirls through your head and you sometimes share with someone when you’re unpacking groceries, making dinner or just calling to chat — only funnier. The story begins to catch up to Marnie’s accelerated rhythms when Lori splits for New York to work on a pilot she’s written, leaving her mom alone. Marnie copes with this separation in her usual fashion, calling Lori amid visits to the mall (cue the Crate & Barrel product placements) and visits to Lori’s dogs, Lori’s friends and Lori’s shrink. Marnie has started to see the therapist (Amy Landecker in a quick, deadpan turn) at Lori’s urging, though mostly she seems to go as a way to insinuate herself even more deeply into her daughter’s life. It’s no wonder that Marnie seems like a smother-mother who’s one 911 call away from a restraining order; no wonder too that she seems lonely. It would be easy to put Marnie on the couch, to assume that she’s neurotic rather than, you know, friendly, and that she talks a lot only to fill the silences or because the quiet might bring on the grief and self-reflection. But she’s plenty self-knowing already, thanks, and Ms. Sarandon shows you the self-awareness hovering behind Marnie’s smile and trembling in her pauses. Still, there is work to be done, a life to live, and, in a sense, the movie is a coming-of-later-age story in which a mother learns how to cut the cord one funny, poignant snip at a time and discovers herself in the process. In this, Marnie receives help from a much younger mother, Jillian (Cecily Strong), and a new friend, Zipper (J.K. Simmons), who each peel back layers. The same goes for the movie, which has a humble, utilitarian visual style, except that everyone looks really pretty, Ms. Sarandon, Ms. Byrne and Mr. Simmons included. Part of this is the quality of the Los Angeles light, which here has none of its sunshine-and-noir harshness but instead gives the characters an appealing glow, a glow that after a while feels like adoration. When Marnie looks at Lori — and Lori looks at Marnie — you are watching two people who, despite the nonsense, care for each other deeply. You see their happiness and you share in it too because in “The Meddler” Ms. Scafaria is holding up that softening filter through which each of us sees the funny, maddening, indispensable people with whom we laugh, mourn and, if we’re lucky, find love. “The Meddler” is rated PG-13 (Parents strongly cautioned). I haven’t a clue why. Running time: 1 hour 40 minutes.` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `The first time that Marnie Minervini opens her mouth in “The Meddler,” you may wish it were the last. One half of an insistently winning, hopelessly irresistible mother-daughter duet, this buttinsky New Jersey widow (Susan Sarandon) puts the “awl” into call and the “awk” into talk and works both your nerves and ears as she does. Having recently moved to Los Angeles, Marnie has turned her cellphone into an umbilical cord that keeps her hooked to her daughter, Lori (Rose Byrne). “The Meddler” is a tear-drizzled comedy, but I understand if it sounds like a horror movie. It’s a little of both, in truth, with some family melodrama and sweet romance thrown in. Affable, earnest and humanly scaled, “The Meddler” is the kind of entertainment that the studios used to supply by the boatload and that now tends to show up on the small screen. Its emphasis on a mother and daughter relationship, in particular, brings to mind maternal melodramas like the glorious weepie “Stella Dallas” (1937), about a woman who asks her wealthy estranged husband to finish raising their daughter so that the girl can live like the people in movies. The difference being that “The Meddler” is agreeably (unusually) optimistic about human relationships, despite the melancholy edging its comedy. Marnie is the biggest source of the humor, and Ms. Sarandon plays her beautifully in every shade of sunshine. One of those relentlessly “on” people who’s always on the go, Marnie is always talking (including on her cell behind the wheel) and always doing, and always talking while doing. There’s compulsiveness to her meddlesomeness. Marnie doesn’t just call Lori, she does so repeatedly, babbling away as if each call were another clause in a sentence without end (“anyway”). The writer-director Lorene Scafaria leads with her laughs. Marnie enters yakking and keeps the motor running, including in voice-over. The patter is inane, funny, lifelike, and Ms. Sarandon’s Jersey intonations give it a comic topspin. Ms. Scafaria seeds these passages with information — Marnie’s dead husband, Joe, was the love of her life — and you can see the narrative machinery in action. But part of what makes the movie work is its unshowy realism, including yammer that isn’t the stuff of dramatic setup or tension but instead resembles the churn of random observations and pointless asides. The sort that swirls through your head and you sometimes share with someone when you’re unpacking groceries, making dinner or just calling to chat — only funnier. The story begins to catch up to Marnie’s accelerated rhythms when Lori splits for New York to work on a pilot she’s written, leaving her mom alone. Marnie copes with this separation in her usual fashion, calling Lori amid visits to the mall (cue the Crate & Barrel product placements) and visits to Lori’s dogs, Lori’s friends and Lori’s shrink. Marnie has started to see the therapist (Amy Landecker in a quick, deadpan turn) at Lori’s urging, though mostly she seems to go as a way to insinuate herself even more deeply into her daughter’s life. It’s no wonder that Marnie seems like a smother-mother who’s one 911 call away from a restraining order; no wonder too that she seems lonely. It would be easy to put Marnie on the couch, to assume that she’s neurotic rather than, you know, friendly, and that she talks a lot only to fill the silences or because the quiet might bring on the grief and self-reflection. But she’s plenty self-knowing already, thanks, and Ms. Sarandon shows you the self-awareness hovering behind Marnie’s smile and trembling in her pauses. Still, there is work to be done, a life to live, and, in a sense, the movie is a coming-of-later-age story in which a mother learns how to cut the cord one funny, poignant snip at a time and discovers herself in the process. In this, Marnie receives help from a much younger mother, Jillian (Cecily Strong), and a new friend, Zipper (J.K. Simmons), who each peel back layers. The same goes for the movie, which has a humble, utilitarian visual style, except that everyone looks really pretty, Ms. Sarandon, Ms. Byrne and Mr. Simmons included. Part of this is the quality of the Los Angeles light, which here has none of its sunshine-and-noir harshness but instead gives the characters an appealing glow, a glow that after a while feels like adoration. When Marnie looks at Lori — and Lori looks at Marnie — you are watching two people who, despite the nonsense, care for each other deeply. You see their happiness and you share in it too because in “The Meddler” Ms. Scafaria is holding up that softening filter through which each of us sees the funny, maddening, indispensable people with whom we laugh, mourn and, if we’re lucky, find love. “The Meddler” is rated PG-13 (Parents strongly cautioned). I haven’t a clue why. Running time: 1 hour 40 minutes.` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_synopsis` will be updated with value `` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Dead Man Walking (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] IMAGES:

[16:32:37] TAXONOMIES:

[16:32:37] - Importing taxonomy `resource_category` ...

[16:32:37] - Attempted to create parent Resource resource_category `Biblical`, duplicate detected. Importing Resource to existing `Biblical` resource_category, ID 667, slug `biblical` ...

[16:32:37] - Attempted to create parent Resource resource_category `New testament`, duplicate detected. Importing Resource to existing `New testament` resource_category, ID 672, slug `new-testament` ...

[16:32:37] - Attempted to create parent Resource resource_category `Old testament`, duplicate detected. Importing Resource to existing `Old testament` resource_category, ID 670, slug `old-testament` ...

[16:32:37] - Importing taxonomy `video_contributor` ...

[16:32:37] - Importing taxonomy `document_contributor` ...

[16:32:37] CREATED `Dead Man Walking (1995)` `Resource` (ID: 2362)

[16:32:37] ACTION: pmxi_saved_post

[16:32:37] ACTION: pmxi_after_post_import

[16:32:37] ---

[16:32:37] Record #36

[16:32:37] ACTION: pmxi_before_post_import ...

[16:32:37] Combine all data for post `Across the Sea of Time (1995)`...

[16:32:37] Find corresponding article among previously imported for post `Across the Sea of Time (1995)`...

[16:32:37] Duplicate post wasn't found with unique key `1728`...

[16:32:37] Applying filter `pmxi_article_data` for `Across the Sea of Time (1995)`

[16:32:37] CREATING `Across the Sea of Time (1995)` `Resource`

[16:32:37] Associate post `Across the Sea of Time (1995)` with current import ...

[16:32:37] CUSTOM FIELDS:

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_video` will be updated with value `1` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `Kelvin Tong’s “The Offering,” a muddled horror film, falls over itself incorporating as many genre elements as possible. The result is the cinematic equivalent of combining every paint color on a canvas: a murky mess. When Jamie (Elizabeth Rice), a Chicago reporter, learns that Anna, her sister, has died in Singapore, she heads there to investigate. The police show her a video of Anna asphyxiating herself. But Jamie soon finds that Anna may have encountered a demonic entity in her home, which might also threaten Anna’s young daughter, Katie (Adina Herz). As it happens, Anna’s house has a history of family homicide. And other grisly deaths around the city seem connected as well. I could recite a list of the hoary supernatural-invasion clichés on parade here, but suffice it to say that the only innovations appear to be garments flying off an outdoor clothesline and, um, a suspicious deep-sea-diving helmet. Through two investigating priests (Colin Borgonon and Adrian Pang), we learn that a plot is brewing to resurrect the biblical Tower of Babel; evidently, binary code has become the one planetary language that the Bible warned us against. And a monster, the leviathan, is on its way, too. It all leads to the possession of Katie and a demon-eviction ceremony featuring, yes, the spinning-head effect straight out of “The Exorcist.” “If you never believed in God, now’s the time you do,” a priest says. But no amount of faith can redeem this sorry enterprise.` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_url` will be updated with value `https://vimeo.com/288131165` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_document` will be updated with value `1` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_synposis` will be updated with value `Kelvin Tong’s “The Offering,” a muddled horror film, falls over itself incorporating as many genre elements as possible. The result is the cinematic equivalent of combining every paint color on a canvas: a murky mess. When Jamie (Elizabeth Rice), a Chicago reporter, learns that Anna, her sister, has died in Singapore, she heads there to investigate. The police show her a video of Anna asphyxiating herself. But Jamie soon finds that Anna may have encountered a demonic entity in her home, which might also threaten Anna’s young daughter, Katie (Adina Herz). As it happens, Anna’s house has a history of family homicide. And other grisly deaths around the city seem connected as well. I could recite a list of the hoary supernatural-invasion clichés on parade here, but suffice it to say that the only innovations appear to be garments flying off an outdoor clothesline and, um, a suspicious deep-sea-diving helmet. Through two investigating priests (Colin Borgonon and Adrian Pang), we learn that a plot is brewing to resurrect the biblical Tower of Babel; evidently, binary code has become the one planetary language that the Bible warned us against. And a monster, the leviathan, is on its way, too. It all leads to the possession of Katie and a demon-eviction ceremony featuring, yes, the spinning-head effect straight out of “The Exorcist.” “If you never believed in God, now’s the time you do,” a priest says. But no amount of faith can redeem this sorry enterprise.` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `Kelvin Tong’s “The Offering,” a muddled horror film, falls over itself incorporating as many genre elements as possible. The result is the cinematic equivalent of combining every paint color on a canvas: a murky mess. When Jamie (Elizabeth Rice), a Chicago reporter, learns that Anna, her sister, has died in Singapore, she heads there to investigate. The police show her a video of Anna asphyxiating herself. But Jamie soon finds that Anna may have encountered a demonic entity in her home, which might also threaten Anna’s young daughter, Katie (Adina Herz). As it happens, Anna’s house has a history of family homicide. And other grisly deaths around the city seem connected as well. I could recite a list of the hoary supernatural-invasion clichés on parade here, but suffice it to say that the only innovations appear to be garments flying off an outdoor clothesline and, um, a suspicious deep-sea-diving helmet. Through two investigating priests (Colin Borgonon and Adrian Pang), we learn that a plot is brewing to resurrect the biblical Tower of Babel; evidently, binary code has become the one planetary language that the Bible warned us against. And a monster, the leviathan, is on its way, too. It all leads to the possession of Katie and a demon-eviction ceremony featuring, yes, the spinning-head effect straight out of “The Exorcist.” “If you never believed in God, now’s the time you do,” a priest says. But no amount of faith can redeem this sorry enterprise.` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_synopsis` will be updated with value `` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Across the Sea of Time (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] IMAGES:

[16:32:37] TAXONOMIES:

[16:32:37] - Importing taxonomy `resource_category` ...

[16:32:37] - Attempted to create parent Resource resource_category `Judges`, duplicate detected. Importing Resource to existing `Judges` resource_category, ID 677, slug `judges` ...

[16:32:37] - Attempted to create parent Resource resource_category `Modernity`, duplicate detected. Importing Resource to existing `Modernity` resource_category, ID 681, slug `modernity` ...

[16:32:37] - Attempted to create parent Resource resource_category `New testament`, duplicate detected. Importing Resource to existing `New testament` resource_category, ID 672, slug `new-testament` ...

[16:32:37] - Importing taxonomy `video_contributor` ...

[16:32:37] - Importing taxonomy `document_contributor` ...

[16:32:37] CREATED `Across the Sea of Time (1995)` `Resource` (ID: 2363)

[16:32:37] ACTION: pmxi_saved_post

[16:32:37] ACTION: pmxi_after_post_import

[16:32:37] ---

[16:32:37] Record #37

[16:32:37] ACTION: pmxi_before_post_import ...

[16:32:37] Combine all data for post `It Takes Two (1995)`...

[16:32:37] Find corresponding article among previously imported for post `It Takes Two (1995)`...

[16:32:37] Duplicate post wasn't found with unique key `1729`...

[16:32:37] Applying filter `pmxi_article_data` for `It Takes Two (1995)`

[16:32:37] CREATING `It Takes Two (1995)` `Resource`

[16:32:37] Associate post `It Takes Two (1995)` with current import ...

[16:32:37] CUSTOM FIELDS:

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `subject` will be updated with value `This is what the punter will see` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_video` will be updated with value `1` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `The Whit Stillman-esque romantic melodrama “Those People” goes to great lengths to humanize Manhattan’s upper crust, with generally successful results. Its hero, Charlie (Jonathan Gordon), a gay 27-year-old painter in graduate school, may have been raised among the Upper East Side elite, but that doesn’t keep him from agonized ambivalence when it comes to love. Even in his Manhattan of formal wear, glowing interiors, glittering nighttime streets and leisurely affluence, heartbreak rears its ugly head. Charlie has pined for his childhood friend Sebastian (Jason Ralph) for years. But the dissolute Sebastian — whose Bernie Madoff-like father has just been sent to prison for defrauding his moneyed peers out of millions — keeps Charlie at arm’s length, playing coy. When Charlie catches the eye of the worldly, slightly older Tim (Haaz Sleiman), a barroom musician and accomplished classical pianist, jealousies and long-repressed feelings emerge amid passionate hookups and tearful confrontations. Just whom will Charlie choose? The director, Joey Kuhn, making his feature debut from his own script, has created fairly credible and sympathetic characters, despite the 1-percenter milieu. The actors, especially Mr. Ralph, who could pass for a distant cousin of Dane DeHaan, are equally persuasive, though the plot’s contrivances eventually wear thin. It’s unfortunate that female characters, including Charlie’s mother (Allison Mackie) and Charlie and Sebastian’s friend Ursula (Britt Lower), compared with the men, are given short shrift. But thanks to the cinematographer Leonard D’Antoni, the locations, including Lincoln Center and the High Line, have rarely looked lovelier.` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_url` will be updated with value `https://vimeo.com/147003` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `include_document` will be updated with value `1` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `video_synposis` will be updated with value `The Whit Stillman-esque romantic melodrama “Those People” goes to great lengths to humanize Manhattan’s upper crust, with generally successful results. Its hero, Charlie (Jonathan Gordon), a gay 27-year-old painter in graduate school, may have been raised among the Upper East Side elite, but that doesn’t keep him from agonized ambivalence when it comes to love. Even in his Manhattan of formal wear, glowing interiors, glittering nighttime streets and leisurely affluence, heartbreak rears its ugly head. Charlie has pined for his childhood friend Sebastian (Jason Ralph) for years. But the dissolute Sebastian — whose Bernie Madoff-like father has just been sent to prison for defrauding his moneyed peers out of millions — keeps Charlie at arm’s length, playing coy. When Charlie catches the eye of the worldly, slightly older Tim (Haaz Sleiman), a barroom musician and accomplished classical pianist, jealousies and long-repressed feelings emerge amid passionate hookups and tearful confrontations. Just whom will Charlie choose? The director, Joey Kuhn, making his feature debut from his own script, has created fairly credible and sympathetic characters, despite the 1-percenter milieu. The actors, especially Mr. Ralph, who could pass for a distant cousin of Dane DeHaan, are equally persuasive, though the plot’s contrivances eventually wear thin. It’s unfortunate that female characters, including Charlie’s mother (Allison Mackie) and Charlie and Sebastian’s friend Ursula (Britt Lower), compared with the men, are given short shrift. But thanks to the cinematographer Leonard D’Antoni, the locations, including Lincoln Center and the High Line, have rarely looked lovelier.` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `The Whit Stillman-esque romantic melodrama “Those People” goes to great lengths to humanize Manhattan’s upper crust, with generally successful results. Its hero, Charlie (Jonathan Gordon), a gay 27-year-old painter in graduate school, may have been raised among the Upper East Side elite, but that doesn’t keep him from agonized ambivalence when it comes to love. Even in his Manhattan of formal wear, glowing interiors, glittering nighttime streets and leisurely affluence, heartbreak rears its ugly head. Charlie has pined for his childhood friend Sebastian (Jason Ralph) for years. But the dissolute Sebastian — whose Bernie Madoff-like father has just been sent to prison for defrauding his moneyed peers out of millions — keeps Charlie at arm’s length, playing coy. When Charlie catches the eye of the worldly, slightly older Tim (Haaz Sleiman), a barroom musician and accomplished classical pianist, jealousies and long-repressed feelings emerge amid passionate hookups and tearful confrontations. Just whom will Charlie choose? The director, Joey Kuhn, making his feature debut from his own script, has created fairly credible and sympathetic characters, despite the 1-percenter milieu. The actors, especially Mr. Ralph, who could pass for a distant cousin of Dane DeHaan, are equally persuasive, though the plot’s contrivances eventually wear thin. It’s unfortunate that female characters, including Charlie’s mother (Allison Mackie) and Charlie and Sebastian’s friend Ursula (Britt Lower), compared with the men, are given short shrift. But thanks to the cinematographer Leonard D’Antoni, the locations, including Lincoln Center and the High Line, have rarely looked lovelier.` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `document_synopsis` will be updated with value `` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

[16:32:37] - ACTION: pmxi_custom_field

[16:32:37] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `It Takes Two (1995)` ...

[16:32:37] - ACTION: pmxi_update_post_meta

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[16:32:38] - Importing taxonomy `video_contributor` ...

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[16:32:38] ACTION: pmxi_saved_post

[16:32:38] ACTION: pmxi_after_post_import

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[16:32:38] Record #38

[16:32:38] ACTION: pmxi_before_post_import ...

[16:32:38] Combine all data for post `Clueless (1995)`...

[16:32:38] Find corresponding article among previously imported for post `Clueless (1995)`...

[16:32:38] Duplicate post wasn't found with unique key `1730`...

[16:32:38] Applying filter `pmxi_article_data` for `Clueless (1995)`

[16:32:38] CREATING `Clueless (1995)` `Resource`

[16:32:38] Associate post `Clueless (1995)` with current import ...

[16:32:38] CUSTOM FIELDS:

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `include_video` will be updated with value `1` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `You may need to adjust your definition of “normal” after seeing “Transfixed.” In this tender documentary, the loving couple at its center seems fairly ordinary — they’re dealing with money woes, weight gain, an impending marriage — until you step back and see that their other struggles also make them unique. Martine Stonehouse and John Gelmon both have Asperger’s syndrome and met at events organized by an autism center in Toronto. They soon fell in love. To John’s surprise, Martine revealed that she was born as a man but has long lived as, and felt as if she were, a woman. John, who identifies as straight, doesn’t want to marry Martine until she has genital reassignment surgery. While the film looks at their daily trials — John is also dealing with Tourette’s syndrome, and Martine is battling obesity — the majority of “Transfixed” follows Martine as she prepares for the operation, and as she experiences problems before and after the procedure. Somewhere in Hollywood, a studio executive is probably already looking at this tale with an eye on adapting it for a quirky comedy or a faux-provocative romance. But this documentary is compelling enough without adding false drama. These are just two people trying to overcome their obstacles and lead simple lives. Alon Kol, the director, captures the inherent isolation of those who aren’t easily accepted by the world and who have spent a lot of time being perplexed by life. For sure, there are plenty of humorous moments here. But that underlying sadness is the most affecting aspect of the film. Even though Martine and John are capable adults, you find yourself wanting to encourage them on their journey, and also to remind them that it’s O.K. to feel sad sometimes. In fact, it’s normal.` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `video_url` will be updated with value `https://vimeo.com/147550` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `include_document` will be updated with value `1` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `video_synposis` will be updated with value `You may need to adjust your definition of “normal” after seeing “Transfixed.” In this tender documentary, the loving couple at its center seems fairly ordinary — they’re dealing with money woes, weight gain, an impending marriage — until you step back and see that their other struggles also make them unique. Martine Stonehouse and John Gelmon both have Asperger’s syndrome and met at events organized by an autism center in Toronto. They soon fell in love. To John’s surprise, Martine revealed that she was born as a man but has long lived as, and felt as if she were, a woman. John, who identifies as straight, doesn’t want to marry Martine until she has genital reassignment surgery. While the film looks at their daily trials — John is also dealing with Tourette’s syndrome, and Martine is battling obesity — the majority of “Transfixed” follows Martine as she prepares for the operation, and as she experiences problems before and after the procedure. Somewhere in Hollywood, a studio executive is probably already looking at this tale with an eye on adapting it for a quirky comedy or a faux-provocative romance. But this documentary is compelling enough without adding false drama. These are just two people trying to overcome their obstacles and lead simple lives. Alon Kol, the director, captures the inherent isolation of those who aren’t easily accepted by the world and who have spent a lot of time being perplexed by life. For sure, there are plenty of humorous moments here. But that underlying sadness is the most affecting aspect of the film. Even though Martine and John are capable adults, you find yourself wanting to encourage them on their journey, and also to remind them that it’s O.K. to feel sad sometimes. In fact, it’s normal.` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `You may need to adjust your definition of “normal” after seeing “Transfixed.” In this tender documentary, the loving couple at its center seems fairly ordinary — they’re dealing with money woes, weight gain, an impending marriage — until you step back and see that their other struggles also make them unique. Martine Stonehouse and John Gelmon both have Asperger’s syndrome and met at events organized by an autism center in Toronto. They soon fell in love. To John’s surprise, Martine revealed that she was born as a man but has long lived as, and felt as if she were, a woman. John, who identifies as straight, doesn’t want to marry Martine until she has genital reassignment surgery. While the film looks at their daily trials — John is also dealing with Tourette’s syndrome, and Martine is battling obesity — the majority of “Transfixed” follows Martine as she prepares for the operation, and as she experiences problems before and after the procedure. Somewhere in Hollywood, a studio executive is probably already looking at this tale with an eye on adapting it for a quirky comedy or a faux-provocative romance. But this documentary is compelling enough without adding false drama. These are just two people trying to overcome their obstacles and lead simple lives. Alon Kol, the director, captures the inherent isolation of those who aren’t easily accepted by the world and who have spent a lot of time being perplexed by life. For sure, there are plenty of humorous moments here. But that underlying sadness is the most affecting aspect of the film. Even though Martine and John are capable adults, you find yourself wanting to encourage them on their journey, and also to remind them that it’s O.K. to feel sad sometimes. In fact, it’s normal.` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `document_synopsis` will be updated with value `` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Clueless (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

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[16:32:38] TAXONOMIES:

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[16:32:38] - Attempted to create parent Resource resource_category `Revelation`, duplicate detected. Importing Resource to existing `Revelation` resource_category, ID 669, slug `revelation` ...

[16:32:38] - Importing taxonomy `video_contributor` ...

[16:32:38] - Importing taxonomy `document_contributor` ...

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[16:32:38] ACTION: pmxi_saved_post

[16:32:38] ACTION: pmxi_after_post_import

[16:32:38] ---

[16:32:38] Record #39

[16:32:38] ACTION: pmxi_before_post_import ...

[16:32:38] Combine all data for post `Cry, the Beloved Country (1995)`...

[16:32:38] Find corresponding article among previously imported for post `Cry, the Beloved Country (1995)`...

[16:32:38] Duplicate post wasn't found with unique key `1731`...

[16:32:38] Applying filter `pmxi_article_data` for `Cry, the Beloved Country (1995)`

[16:32:38] CREATING `Cry, the Beloved Country (1995)` `Resource`

[16:32:38] Associate post `Cry, the Beloved Country (1995)` with current import ...

[16:32:38] CUSTOM FIELDS:

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `include_video` will be updated with value `1` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `Eastern Bloc decrepitude has rarely looked as lovely as it does in Maya Vitkova’s “Viktoria,” an offbeat allegorical satire that devolves into a cinematographer show reel. Shot in extra-wide screen by Krum Rodriguez, its story begins at the dawn of the 1980s in Bulgaria, where a girl is born without a bellybutton to a morose young woman against the backdrop of an infantilizing government. The new mother, Boryana (Irmena Chichikova), shares a privacy-free flat with her sweet beau (Dimo Dimov) and her own mother (Mariana Krumova). Life changes when the infant, Viktoria, is declared “baby of the decade” by the state. The girl (played by Daria and Kalina Vitkova, nieces of the director) is spoiled by gifts from Bulgaria’s president (Georgi Spasov). But despite this good fortune, Boryana’s expressions range from sullen to despondent to listless. When it comes to being a mother, she would rather not. Archival montages and time jumps underline the historic changes that the spunky Viktoria and her disconnected family live through, including the fall of the People’s Republic of Bulgaria in 1990. Ms. Vitkova stages amusingly absurd scenarios and showy compositions goosed with portentous motifs (milk, cords, slowly spreading blood). But the film — which runs around two and a half hours — is meager dramatically, and the ageless Boryana seems to be perpetually modeling for a depressive magazine spread. Outside of comic bits, Ms. Vitkova is often too restrained in directing her actors. As more and more perfect shots drift by, the reality of the characters and their relationships dissipates, and we’re left with just picturesque moods.` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `video_url` will be updated with value `https://vimeo.com/148137` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `include_document` will be updated with value `1` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `video_synposis` will be updated with value `Eastern Bloc decrepitude has rarely looked as lovely as it does in Maya Vitkova’s “Viktoria,” an offbeat allegorical satire that devolves into a cinematographer show reel. Shot in extra-wide screen by Krum Rodriguez, its story begins at the dawn of the 1980s in Bulgaria, where a girl is born without a bellybutton to a morose young woman against the backdrop of an infantilizing government. The new mother, Boryana (Irmena Chichikova), shares a privacy-free flat with her sweet beau (Dimo Dimov) and her own mother (Mariana Krumova). Life changes when the infant, Viktoria, is declared “baby of the decade” by the state. The girl (played by Daria and Kalina Vitkova, nieces of the director) is spoiled by gifts from Bulgaria’s president (Georgi Spasov). But despite this good fortune, Boryana’s expressions range from sullen to despondent to listless. When it comes to being a mother, she would rather not. Archival montages and time jumps underline the historic changes that the spunky Viktoria and her disconnected family live through, including the fall of the People’s Republic of Bulgaria in 1990. Ms. Vitkova stages amusingly absurd scenarios and showy compositions goosed with portentous motifs (milk, cords, slowly spreading blood). But the film — which runs around two and a half hours — is meager dramatically, and the ageless Boryana seems to be perpetually modeling for a depressive magazine spread. Outside of comic bits, Ms. Vitkova is often too restrained in directing her actors. As more and more perfect shots drift by, the reality of the characters and their relationships dissipates, and we’re left with just picturesque moods.` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `Eastern Bloc decrepitude has rarely looked as lovely as it does in Maya Vitkova’s “Viktoria,” an offbeat allegorical satire that devolves into a cinematographer show reel. Shot in extra-wide screen by Krum Rodriguez, its story begins at the dawn of the 1980s in Bulgaria, where a girl is born without a bellybutton to a morose young woman against the backdrop of an infantilizing government. The new mother, Boryana (Irmena Chichikova), shares a privacy-free flat with her sweet beau (Dimo Dimov) and her own mother (Mariana Krumova). Life changes when the infant, Viktoria, is declared “baby of the decade” by the state. The girl (played by Daria and Kalina Vitkova, nieces of the director) is spoiled by gifts from Bulgaria’s president (Georgi Spasov). But despite this good fortune, Boryana’s expressions range from sullen to despondent to listless. When it comes to being a mother, she would rather not. Archival montages and time jumps underline the historic changes that the spunky Viktoria and her disconnected family live through, including the fall of the People’s Republic of Bulgaria in 1990. Ms. Vitkova stages amusingly absurd scenarios and showy compositions goosed with portentous motifs (milk, cords, slowly spreading blood). But the film — which runs around two and a half hours — is meager dramatically, and the ageless Boryana seems to be perpetually modeling for a depressive magazine spread. Outside of comic bits, Ms. Vitkova is often too restrained in directing her actors. As more and more perfect shots drift by, the reality of the characters and their relationships dissipates, and we’re left with just picturesque moods.` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `document_synopsis` will be updated with value `` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Cry, the Beloved Country (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

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[16:32:38] - Importing taxonomy `document_contributor` ...

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[16:32:38] ACTION: pmxi_saved_post

[16:32:38] ACTION: pmxi_after_post_import

[16:32:38] ---

[16:32:38] Record #40

[16:32:38] ACTION: pmxi_before_post_import ...

[16:32:38] Combine all data for post `Richard III (1995)`...

[16:32:38] Find corresponding article among previously imported for post `Richard III (1995)`...

[16:32:38] Duplicate post wasn't found with unique key `1732`...

[16:32:38] Applying filter `pmxi_article_data` for `Richard III (1995)`

[16:32:38] CREATING `Richard III (1995)` `Resource`

[16:32:38] Associate post `Richard III (1995)` with current import ...

[16:32:38] CUSTOM FIELDS:

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `include_video` will be updated with value `1` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `An exhilarating hybrid of Social Realism and feel-good aspirational entertainment, Paddy Breathnach’s “Viva” is an oddity by its very pedigree: an Irish movie set in Havana, where it was filmed with a keen eye to that city’s dinginess in tropical light. It infuses a too-familiar story with so much heart that you surrender to its charm and forgive it for being unabashedly formulaic. Even its one big plot twist is hardly a surprise. At the same time, its portrait of Havana, an impoverished city of crumbling architecture, has a gritty neorealist pungency. Its hero, Jesus (Héctor Medina), is a gay hairdresser who dreams of becoming a drag entertainer at the nightclub where he coifs the noisy, squabbling divas. To make ends meet, this slim, handsome young man with plucked eyebrows moonlights as a hustler along with his friends. The one brief clip that shows him having sex with a client makes clear that it is grueling, humiliating work. Jesus, whose mother is dead and whose father abandoned him, lives in a slum, and is watched over by the club’s tough but caring star, an aging drag queen known as Mama (Luis Alberto García). Complicating Jesus’s precarious existence is the sudden reappearance of his father, Angel (Jorge Perugorría), a former boxer released from prison who likes his rum and is rumored to have killed a man. Angel’s initial reaction to his son’s homosexuality and fondness for drag is all too predictable: He punches him in the face. Unlike other macho father-gay son dramas, “Viva” doesn’t amplify Angel’s hostility to tell a prolonged tale of persecution and liberation. That spasm of violence is more a reflex than an expression of deep hatred. Angel, who is falling apart physically, is filled with regret about how he has led his life. Without asking, he moves in with Jesus and adopts an attitude of paternal authority. But his machismo is more pathetic than threatening. Instead of cowering before his father, Jesus stands up for himself. Sweet-natured, he is helpful and nurturing and they form a edgy bond. Mark O’Halloran’s screenplay humanizes the characters to the degree that their relationships assume a dimension well beyond the shallow stereotypes often found in fraught dramas about sexuality and family conflict. Mr. Perugorría’s Angel, for instance, is a sad wreck of a man who has lived by a code that has begun to fail him. He doesn’t know any other way to be than to put on a brave front. Luis Alberto García’s portrayal of Mama, who offers to shelter Angel, if necessary, infuses new life into the stereotype of the tough drag-queen survivor. Best of all is Mr. Medina’s lovable Jesus, who is androgynous without the usual clichéd drag-queen mannerisms. Viva is his stage name. He is also a terrific dancer who, given the chance to perform, displays the charisma of a natural star. “Viva” is rated R (Under 17 requires accompanying parent or adult guardian) for strong language, sexual content and brief graphic nudity. In Spanish, with English subtitles. Running time: 1 hour 40 minutes.` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `video_url` will be updated with value `https://vimeo.com/148161` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `include_document` will be updated with value `1` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `video_synposis` will be updated with value `An exhilarating hybrid of Social Realism and feel-good aspirational entertainment, Paddy Breathnach’s “Viva” is an oddity by its very pedigree: an Irish movie set in Havana, where it was filmed with a keen eye to that city’s dinginess in tropical light. It infuses a too-familiar story with so much heart that you surrender to its charm and forgive it for being unabashedly formulaic. Even its one big plot twist is hardly a surprise. At the same time, its portrait of Havana, an impoverished city of crumbling architecture, has a gritty neorealist pungency. Its hero, Jesus (Héctor Medina), is a gay hairdresser who dreams of becoming a drag entertainer at the nightclub where he coifs the noisy, squabbling divas. To make ends meet, this slim, handsome young man with plucked eyebrows moonlights as a hustler along with his friends. The one brief clip that shows him having sex with a client makes clear that it is grueling, humiliating work. Jesus, whose mother is dead and whose father abandoned him, lives in a slum, and is watched over by the club’s tough but caring star, an aging drag queen known as Mama (Luis Alberto García). Complicating Jesus’s precarious existence is the sudden reappearance of his father, Angel (Jorge Perugorría), a former boxer released from prison who likes his rum and is rumored to have killed a man. Angel’s initial reaction to his son’s homosexuality and fondness for drag is all too predictable: He punches him in the face. Unlike other macho father-gay son dramas, “Viva” doesn’t amplify Angel’s hostility to tell a prolonged tale of persecution and liberation. That spasm of violence is more a reflex than an expression of deep hatred. Angel, who is falling apart physically, is filled with regret about how he has led his life. Without asking, he moves in with Jesus and adopts an attitude of paternal authority. But his machismo is more pathetic than threatening. Instead of cowering before his father, Jesus stands up for himself. Sweet-natured, he is helpful and nurturing and they form a edgy bond. Mark O’Halloran’s screenplay humanizes the characters to the degree that their relationships assume a dimension well beyond the shallow stereotypes often found in fraught dramas about sexuality and family conflict. Mr. Perugorría’s Angel, for instance, is a sad wreck of a man who has lived by a code that has begun to fail him. He doesn’t know any other way to be than to put on a brave front. Luis Alberto García’s portrayal of Mama, who offers to shelter Angel, if necessary, infuses new life into the stereotype of the tough drag-queen survivor. Best of all is Mr. Medina’s lovable Jesus, who is androgynous without the usual clichéd drag-queen mannerisms. Viva is his stage name. He is also a terrific dancer who, given the chance to perform, displays the charisma of a natural star. “Viva” is rated R (Under 17 requires accompanying parent or adult guardian) for strong language, sexual content and brief graphic nudity. In Spanish, with English subtitles. Running time: 1 hour 40 minutes.` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `An exhilarating hybrid of Social Realism and feel-good aspirational entertainment, Paddy Breathnach’s “Viva” is an oddity by its very pedigree: an Irish movie set in Havana, where it was filmed with a keen eye to that city’s dinginess in tropical light. It infuses a too-familiar story with so much heart that you surrender to its charm and forgive it for being unabashedly formulaic. Even its one big plot twist is hardly a surprise. At the same time, its portrait of Havana, an impoverished city of crumbling architecture, has a gritty neorealist pungency. Its hero, Jesus (Héctor Medina), is a gay hairdresser who dreams of becoming a drag entertainer at the nightclub where he coifs the noisy, squabbling divas. To make ends meet, this slim, handsome young man with plucked eyebrows moonlights as a hustler along with his friends. The one brief clip that shows him having sex with a client makes clear that it is grueling, humiliating work. Jesus, whose mother is dead and whose father abandoned him, lives in a slum, and is watched over by the club’s tough but caring star, an aging drag queen known as Mama (Luis Alberto García). Complicating Jesus’s precarious existence is the sudden reappearance of his father, Angel (Jorge Perugorría), a former boxer released from prison who likes his rum and is rumored to have killed a man. Angel’s initial reaction to his son’s homosexuality and fondness for drag is all too predictable: He punches him in the face. Unlike other macho father-gay son dramas, “Viva” doesn’t amplify Angel’s hostility to tell a prolonged tale of persecution and liberation. That spasm of violence is more a reflex than an expression of deep hatred. Angel, who is falling apart physically, is filled with regret about how he has led his life. Without asking, he moves in with Jesus and adopts an attitude of paternal authority. But his machismo is more pathetic than threatening. Instead of cowering before his father, Jesus stands up for himself. Sweet-natured, he is helpful and nurturing and they form a edgy bond. Mark O’Halloran’s screenplay humanizes the characters to the degree that their relationships assume a dimension well beyond the shallow stereotypes often found in fraught dramas about sexuality and family conflict. Mr. Perugorría’s Angel, for instance, is a sad wreck of a man who has lived by a code that has begun to fail him. He doesn’t know any other way to be than to put on a brave front. Luis Alberto García’s portrayal of Mama, who offers to shelter Angel, if necessary, infuses new life into the stereotype of the tough drag-queen survivor. Best of all is Mr. Medina’s lovable Jesus, who is androgynous without the usual clichéd drag-queen mannerisms. Viva is his stage name. He is also a terrific dancer who, given the chance to perform, displays the charisma of a natural star. “Viva” is rated R (Under 17 requires accompanying parent or adult guardian) for strong language, sexual content and brief graphic nudity. In Spanish, with English subtitles. Running time: 1 hour 40 minutes.` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `document_synopsis` will be updated with value `` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Richard III (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] IMAGES:

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[16:32:38] - Attempted to create parent Resource resource_category `Revelation`, duplicate detected. Importing Resource to existing `Revelation` resource_category, ID 669, slug `revelation` ...

[16:32:38] - Importing taxonomy `video_contributor` ...

[16:32:38] - Importing taxonomy `document_contributor` ...

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[16:32:38] ACTION: pmxi_saved_post

[16:32:38] ACTION: pmxi_after_post_import

[16:32:38] ---

[16:32:38] Record #41

[16:32:38] ACTION: pmxi_before_post_import ...

[16:32:38] Combine all data for post `Dead Presidents (1995)`...

[16:32:38] Find corresponding article among previously imported for post `Dead Presidents (1995)`...

[16:32:38] Duplicate post wasn't found with unique key `1733`...

[16:32:38] Applying filter `pmxi_article_data` for `Dead Presidents (1995)`

[16:32:38] CREATING `Dead Presidents (1995)` `Resource`

[16:32:38] Associate post `Dead Presidents (1995)` with current import ...

[16:32:38] CUSTOM FIELDS:

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Dead Presidents (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Dead Presidents (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Dead Presidents (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Dead Presidents (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Dead Presidents (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Dead Presidents (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `include_video` will be updated with value `1` for post `Dead Presidents (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Dead Presidents (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Dead Presidents (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Dead Presidents (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:38] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this documentary, filmed aboard the International Space Station. Directed by Toni Myers and made in cooperation with NASA, most of “A Beautiful Planet” was shot by astronauts while on monthslong space missions. From the space station they carried out research and space-walked to make needed repairs. And through it all, they took videos of our planet. To see vast oceans, immense deserts and mountain ranges from so high up is both humbling and inspiring. And scenes of mighty lightning storms, the aurora borealis and cities illuminated at night are magnificent. Just as fun is observing the astronauts as they handle seemingly simple tasks while weightless. A crew member floating as she sleeps looks supernatural; seeing another getting in and out of his spacesuit has a Marx Brothers-like quality. And I can say without reservation that I’ve never been so fascinated by watching a man shampoo his hair. Ms. Myers is an efficient director and editor, though her script could have used a few more of those personal moments to prevent viewer fatigue that may set in after the succession of huge images. Additional specifics on the missions and the science would also have been helpful. Still, this film, which is smoothly narrated by Jennifer Lawrence, finds a nice balance: It’s appealing to adults and accessible to younger viewers. And it delivers an environmental message that is strong and serious while remaining encouraging and optimistic. That’s important to hear. The rest is just amazing to watch.` for post `Dead Presidents (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

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[16:32:38] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `The cinema of seduction doesn’t get much more overheated than “A Bigger Splash,” an Italian come-on that doesn’t just want to amuse you, but also to pour you a Negroni before taking you for a midnight spin with the top down. Set on an Italian island slithering with snakes and beautiful people, the movie is something of a reluctant thriller about a rock star, her current lover, her former lover and a pretty young thing. Bad things happen, because, you know, life is pain — in the meantime, though, do enjoy the magnificent digs, the designer threads and the frolicking nude stars. The last time the director Luca Guadagnino trained his sights on Tilda Swinton, she was suffering under the Milanese sun in “I Am Love,” playing an unhappy wife fluttering in a gilded cage. This time, Ms. Swinton plays a rock star, Marianne Lane, who shortly after “A Bigger Splash” opens, is sunbathing au naturel next to a pool, as her lover, Paul (Matthias Schoenaerts), dozes nearby. They’re a delectable pair of sexy beasts, ensconced on a jaw-slackening compound on Pantelleria, a volcanic island in the strait of Sicily that’s within viewing distance of Tunisia. Marianne has recently had career-lengthening throat surgery, a procedure that’s rendered her near-speechless. With her preternatural stillness and sculptured hauteur, Ms. Swinton has always looked ready for her close-up with D. W. Griffith; few contemporary movie actresses can hold you with their gaze as effortlessly as she does. Marianne’s radio silence is a storytelling contrivance (for personal reasons, Ms. Swinton agreed to appear in the movie if she didn’t speak), but it adds to the character’s celebrity aura and deepens the sense of isolation conveyed by the location. And while Marianne whispers when she feels like it, her relative silence works both for Ms. Swinton — it draws you closer to her — and for Mr. Guadagnino, a voluptuary who revels in the surface beauty of the natural and unnatural worlds. Marianne and Paul’s private bliss-out is disrupted by the unexpected arrival of an old friend, a music producer, Harry (a sensational Ralph Fiennes), a motormouth who roars in with his daughter, Penelope (Dakota Johnson). She’s recently learned that Harry is her father and now, for reasons that thicken the mystery, he has dragged her to Pantelleria without a hotel reservation, which is how they end up crashing at Marianne and Paul’s hideaway. There, with icy and warm chatter flowing on rivers of booze, the characters circle one another as Mr. Guadagnino, working from David Kajganich’s script, fills in the background with wayward looks, wanton caresses and flashbacks. “A Bigger Splash” is based on Jacques Deray’s 1969 film “La Piscine” (“The Swimming Pool”), one of those idle-rich soaps in which trouble pulls up in a Maserati. A few years ago, the luxury-goods company Christian Dior recycled images of that film’s heartthrob attraction, Alain Delon, in an ad campaign for its cologne Eau Sauvage that used the Rolling Stones’ “Sympathy for the Devil.” The playlist for “A Bigger Splash” includes a couple of Stones songs as well, notably “Emotional Rescue,” which is in rotation with Harry Nilsson, Giuseppe Verdi, 1970s Brazilian classics and Hollywood’s eternal bad boy Robert Mitchum murdering the calypso ditty “Beauty Is Only Skin Deep.” Mr. Guadagnino, in other words, knows how to decorate a movie, from Marianne’s manicured head to Penelope’s perfectly photographed bellybutton. Every fetishized element — the glorious house, the tiled pool, Marianne’s Dior outfits and the scrubbiest of vistas — looks ravishing, ready for a close-up, too. The world that Mr. Guadagnino creates is at once seductive and aspirational, and another reminder that movies have always excelled at stoking consumer desires. Much like Nancy Meyers (“The Intern”), Mr. Guadagnino excels at creating lifestyle pornography of an especially rarefied kind, although in classic European style, he gilds the pleasure with some political guilt. Not too much, mind you, just enough to give the whole thing a patina of seriousness. Much like the faded hammer-and-sickle tattoo embellishing Harry’s oft-bared chest, the movie’s politics come across as self-consciously ornamental. At times, as with the topical references to refugees (a few of whom are seen huddled in detention), these glimpses of the larger, agonizing world are clearly meant to say something about the characters and their insularity. Mr. Guadagnino may be actually trying to assuage his conscience (or ours), as if to do penance for all this careless opulence. Yet these moments register as ritualistic at best, opportunistic at worst, and you wish he wouldn’t even bother. Consciously or not, Mr. Guadagnino makes a more convincing political case when he just lets his characters meander and do what they do best, which is living idly, fabulously. You could read an entire history of civilization and capitalism in how Marianne drapes her legs across a lounger or strides into a humble Italian home to sample some homemade ricotta. Ms. Swinton conveys casual entitlement like someone to the manner born, which gives Marianne’s teasing exchanges with Harry an increasingly discomfiting quality. Harry has come to the island for something he feverishly wants and believes he needs. He’s a man on a desperate mission, one that Mr. Fiennes, with a wildly flapping mouth and manic limbs, turns into a raw, indelible portrait of loss. “A Bigger Splash” is rated R (under 17 requires accompanying parent or adult guardian). Adults behaving like adults, only naughtier and far nastier. Running time: 2 hours 4 minutes.` for post `Restoration (1995)` ...

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[16:32:38] - Custom field `video_synposis` will be updated with value `The cinema of seduction doesn’t get much more overheated than “A Bigger Splash,” an Italian come-on that doesn’t just want to amuse you, but also to pour you a Negroni before taking you for a midnight spin with the top down. Set on an Italian island slithering with snakes and beautiful people, the movie is something of a reluctant thriller about a rock star, her current lover, her former lover and a pretty young thing. Bad things happen, because, you know, life is pain — in the meantime, though, do enjoy the magnificent digs, the designer threads and the frolicking nude stars. The last time the director Luca Guadagnino trained his sights on Tilda Swinton, she was suffering under the Milanese sun in “I Am Love,” playing an unhappy wife fluttering in a gilded cage. This time, Ms. Swinton plays a rock star, Marianne Lane, who shortly after “A Bigger Splash” opens, is sunbathing au naturel next to a pool, as her lover, Paul (Matthias Schoenaerts), dozes nearby. They’re a delectable pair of sexy beasts, ensconced on a jaw-slackening compound on Pantelleria, a volcanic island in the strait of Sicily that’s within viewing distance of Tunisia. Marianne has recently had career-lengthening throat surgery, a procedure that’s rendered her near-speechless. With her preternatural stillness and sculptured hauteur, Ms. Swinton has always looked ready for her close-up with D. W. Griffith; few contemporary movie actresses can hold you with their gaze as effortlessly as she does. Marianne’s radio silence is a storytelling contrivance (for personal reasons, Ms. Swinton agreed to appear in the movie if she didn’t speak), but it adds to the character’s celebrity aura and deepens the sense of isolation conveyed by the location. And while Marianne whispers when she feels like it, her relative silence works both for Ms. Swinton — it draws you closer to her — and for Mr. Guadagnino, a voluptuary who revels in the surface beauty of the natural and unnatural worlds. Marianne and Paul’s private bliss-out is disrupted by the unexpected arrival of an old friend, a music producer, Harry (a sensational Ralph Fiennes), a motormouth who roars in with his daughter, Penelope (Dakota Johnson). She’s recently learned that Harry is her father and now, for reasons that thicken the mystery, he has dragged her to Pantelleria without a hotel reservation, which is how they end up crashing at Marianne and Paul’s hideaway. There, with icy and warm chatter flowing on rivers of booze, the characters circle one another as Mr. Guadagnino, working from David Kajganich’s script, fills in the background with wayward looks, wanton caresses and flashbacks. “A Bigger Splash” is based on Jacques Deray’s 1969 film “La Piscine” (“The Swimming Pool”), one of those idle-rich soaps in which trouble pulls up in a Maserati. A few years ago, the luxury-goods company Christian Dior recycled images of that film’s heartthrob attraction, Alain Delon, in an ad campaign for its cologne Eau Sauvage that used the Rolling Stones’ “Sympathy for the Devil.” The playlist for “A Bigger Splash” includes a couple of Stones songs as well, notably “Emotional Rescue,” which is in rotation with Harry Nilsson, Giuseppe Verdi, 1970s Brazilian classics and Hollywood’s eternal bad boy Robert Mitchum murdering the calypso ditty “Beauty Is Only Skin Deep.” Mr. Guadagnino, in other words, knows how to decorate a movie, from Marianne’s manicured head to Penelope’s perfectly photographed bellybutton. Every fetishized element — the glorious house, the tiled pool, Marianne’s Dior outfits and the scrubbiest of vistas — looks ravishing, ready for a close-up, too. The world that Mr. Guadagnino creates is at once seductive and aspirational, and another reminder that movies have always excelled at stoking consumer desires. Much like Nancy Meyers (“The Intern”), Mr. Guadagnino excels at creating lifestyle pornography of an especially rarefied kind, although in classic European style, he gilds the pleasure with some political guilt. Not too much, mind you, just enough to give the whole thing a patina of seriousness. Much like the faded hammer-and-sickle tattoo embellishing Harry’s oft-bared chest, the movie’s politics come across as self-consciously ornamental. At times, as with the topical references to refugees (a few of whom are seen huddled in detention), these glimpses of the larger, agonizing world are clearly meant to say something about the characters and their insularity. Mr. Guadagnino may be actually trying to assuage his conscience (or ours), as if to do penance for all this careless opulence. Yet these moments register as ritualistic at best, opportunistic at worst, and you wish he wouldn’t even bother. Consciously or not, Mr. Guadagnino makes a more convincing political case when he just lets his characters meander and do what they do best, which is living idly, fabulously. You could read an entire history of civilization and capitalism in how Marianne drapes her legs across a lounger or strides into a humble Italian home to sample some homemade ricotta. Ms. Swinton conveys casual entitlement like someone to the manner born, which gives Marianne’s teasing exchanges with Harry an increasingly discomfiting quality. Harry has come to the island for something he feverishly wants and believes he needs. He’s a man on a desperate mission, one that Mr. Fiennes, with a wildly flapping mouth and manic limbs, turns into a raw, indelible portrait of loss. “A Bigger Splash” is rated R (under 17 requires accompanying parent or adult guardian). Adults behaving like adults, only naughtier and far nastier. Running time: 2 hours 4 minutes.` for post `Restoration (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

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[16:32:38] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `The cinema of seduction doesn’t get much more overheated than “A Bigger Splash,” an Italian come-on that doesn’t just want to amuse you, but also to pour you a Negroni before taking you for a midnight spin with the top down. Set on an Italian island slithering with snakes and beautiful people, the movie is something of a reluctant thriller about a rock star, her current lover, her former lover and a pretty young thing. Bad things happen, because, you know, life is pain — in the meantime, though, do enjoy the magnificent digs, the designer threads and the frolicking nude stars. The last time the director Luca Guadagnino trained his sights on Tilda Swinton, she was suffering under the Milanese sun in “I Am Love,” playing an unhappy wife fluttering in a gilded cage. This time, Ms. Swinton plays a rock star, Marianne Lane, who shortly after “A Bigger Splash” opens, is sunbathing au naturel next to a pool, as her lover, Paul (Matthias Schoenaerts), dozes nearby. They’re a delectable pair of sexy beasts, ensconced on a jaw-slackening compound on Pantelleria, a volcanic island in the strait of Sicily that’s within viewing distance of Tunisia. Marianne has recently had career-lengthening throat surgery, a procedure that’s rendered her near-speechless. With her preternatural stillness and sculptured hauteur, Ms. Swinton has always looked ready for her close-up with D. W. Griffith; few contemporary movie actresses can hold you with their gaze as effortlessly as she does. Marianne’s radio silence is a storytelling contrivance (for personal reasons, Ms. Swinton agreed to appear in the movie if she didn’t speak), but it adds to the character’s celebrity aura and deepens the sense of isolation conveyed by the location. And while Marianne whispers when she feels like it, her relative silence works both for Ms. Swinton — it draws you closer to her — and for Mr. Guadagnino, a voluptuary who revels in the surface beauty of the natural and unnatural worlds. Marianne and Paul’s private bliss-out is disrupted by the unexpected arrival of an old friend, a music producer, Harry (a sensational Ralph Fiennes), a motormouth who roars in with his daughter, Penelope (Dakota Johnson). She’s recently learned that Harry is her father and now, for reasons that thicken the mystery, he has dragged her to Pantelleria without a hotel reservation, which is how they end up crashing at Marianne and Paul’s hideaway. There, with icy and warm chatter flowing on rivers of booze, the characters circle one another as Mr. Guadagnino, working from David Kajganich’s script, fills in the background with wayward looks, wanton caresses and flashbacks. “A Bigger Splash” is based on Jacques Deray’s 1969 film “La Piscine” (“The Swimming Pool”), one of those idle-rich soaps in which trouble pulls up in a Maserati. A few years ago, the luxury-goods company Christian Dior recycled images of that film’s heartthrob attraction, Alain Delon, in an ad campaign for its cologne Eau Sauvage that used the Rolling Stones’ “Sympathy for the Devil.” The playlist for “A Bigger Splash” includes a couple of Stones songs as well, notably “Emotional Rescue,” which is in rotation with Harry Nilsson, Giuseppe Verdi, 1970s Brazilian classics and Hollywood’s eternal bad boy Robert Mitchum murdering the calypso ditty “Beauty Is Only Skin Deep.” Mr. Guadagnino, in other words, knows how to decorate a movie, from Marianne’s manicured head to Penelope’s perfectly photographed bellybutton. Every fetishized element — the glorious house, the tiled pool, Marianne’s Dior outfits and the scrubbiest of vistas — looks ravishing, ready for a close-up, too. The world that Mr. Guadagnino creates is at once seductive and aspirational, and another reminder that movies have always excelled at stoking consumer desires. Much like Nancy Meyers (“The Intern”), Mr. Guadagnino excels at creating lifestyle pornography of an especially rarefied kind, although in classic European style, he gilds the pleasure with some political guilt. Not too much, mind you, just enough to give the whole thing a patina of seriousness. Much like the faded hammer-and-sickle tattoo embellishing Harry’s oft-bared chest, the movie’s politics come across as self-consciously ornamental. At times, as with the topical references to refugees (a few of whom are seen huddled in detention), these glimpses of the larger, agonizing world are clearly meant to say something about the characters and their insularity. Mr. Guadagnino may be actually trying to assuage his conscience (or ours), as if to do penance for all this careless opulence. Yet these moments register as ritualistic at best, opportunistic at worst, and you wish he wouldn’t even bother. Consciously or not, Mr. Guadagnino makes a more convincing political case when he just lets his characters meander and do what they do best, which is living idly, fabulously. You could read an entire history of civilization and capitalism in how Marianne drapes her legs across a lounger or strides into a humble Italian home to sample some homemade ricotta. Ms. Swinton conveys casual entitlement like someone to the manner born, which gives Marianne’s teasing exchanges with Harry an increasingly discomfiting quality. Harry has come to the island for something he feverishly wants and believes he needs. He’s a man on a desperate mission, one that Mr. Fiennes, with a wildly flapping mouth and manic limbs, turns into a raw, indelible portrait of loss. “A Bigger Splash” is rated R (under 17 requires accompanying parent or adult guardian). Adults behaving like adults, only naughtier and far nastier. Running time: 2 hours 4 minutes.` for post `Restoration (1995)` ...

[16:32:38] - ACTION: pmxi_update_post_meta

[16:32:38] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Restoration (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `document_synopsis` will be updated with value `` for post `Restoration (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Restoration (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Restoration (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] IMAGES:

[16:32:39] TAXONOMIES:

[16:32:39] - Importing taxonomy `resource_category` ...

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[16:32:39] - Attempted to create parent Resource resource_category `Revelation`, duplicate detected. Importing Resource to existing `Revelation` resource_category, ID 669, slug `revelation` ...

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[16:32:39] - Importing taxonomy `video_contributor` ...

[16:32:39] - Importing taxonomy `document_contributor` ...

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[16:32:39] ACTION: pmxi_saved_post

[16:32:39] ACTION: pmxi_after_post_import

[16:32:39] ---

[16:32:39] Record #43

[16:32:39] ACTION: pmxi_before_post_import ...

[16:32:39] Combine all data for post `Mortal Kombat (1995)`...

[16:32:39] Find corresponding article among previously imported for post `Mortal Kombat (1995)`...

[16:32:39] Duplicate post wasn't found with unique key `1735`...

[16:32:39] Applying filter `pmxi_article_data` for `Mortal Kombat (1995)`

[16:32:39] CREATING `Mortal Kombat (1995)` `Resource`

[16:32:39] Associate post `Mortal Kombat (1995)` with current import ...

[16:32:39] CUSTOM FIELDS:

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `include_video` will be updated with value `1` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `It takes an actor with the finesse of Tom Hanks to turn a story of confusion, perplexity, frustration and panic into an agreeably uncomfortable comedy. But that’s what Mr. Hanks accomplishes in the German filmmaker Tom Tykwer’s easygoing screen adaptation of Dave Eggers’s novel “A Hologram for the King.” This fanciful tale about Alan Clay, an American consultant visiting Saudi Arabia to sell a holographic teleconferencing system to the Saudi government, has been transformed through the force of Mr. Hanks’s nice-guy personality. His performance elevates an ominous, downbeat reflection on American decline and runaway technology into a subdued absurdist farce with dark geopolitical undercurrents. The movie is set in 2010, when America was still reeling from the financial crisis and months before the beginning of the Arab Spring uprisings that eventually transformed much of the Middle East into a grisly battleground. In the surreal opening scene, Alan walks down a suburban street, loudly singing the Talking Heads song “Once in a Lifetime,” whose narrator asks you to imagine losing your house and your wife. All at once, we have landed in Jeddah, Saudi Arabia, in a topsy-turvy world of technological disruption and hierarchal imbalance. Alan is in a wretched state when he arrives. Broke, depressed, newly divorced and desperate to regain his financial footing, he is acutely aware that his entire future depends on the successful completion of a deal involving the sale of a miraculous invention that suggests the modern equivalent of Aladdin’s magic lamp. Later in the movie, we see a brief, underwhelming demonstration of its wonders. From the moment Alan lands, he encounters humiliating obstacles. The king, he is told, is away but is expected back very soon. But the days drag on, and the lives of Alan and the three-person I.T. support team that preceded him become a Beckettian waiting game. Instead of a modern hotel, Alan finds his assistants languishing in a sweltering tent without air-conditioning or Wi-Fi in the King’s Metropolis of Economy and Trade, a fictionalized version of King Abdullah Economic City. This metropolis, still under construction, consists of mostly empty skyscrapers. The scenes in which he wanders through this desolate ghost city, which seems in a state of suspension, are among the film’s strongest. Jet-lagged and sleep-deprived, Alan tries in vain to find his bearings, while obsessing about a strange lump on his back that he unsuccessfully tries to remove. His tentative surgery on himself leads him to consult Zahra Hakem (Sarita Choudhury, from “Homeland”), a Saudi doctor with whom he develops an unlikely romantic connection. A screen adaptation of “A Hologram for the King” could have taken any of several approaches. It could have been a satire of American provincialism and culture clash in a tech-dependent world, with Alan portrayed as a bumbling, overconfident fool living in the past. But Mr. Hanks’s embodiment of an unflappably positive, if frustrated, American Everyman, who refuses to give up or to surrender his can-do attitude, grounds the movie. Somehow, you suspect, his situation will be resolved by good old-fashioned American know-how. Alan becomes infuriated but never enraged. Confronting disaster, he grits his teeth and puts on an optimistic face. Mr. Hanks, in his best clownish mode, scrunches his features into all manner of amusing grimaces. But even when Alan is on the brink of nervous exhaustion, you trust him to find the answers. The movie’s weaker scenes try to fill in his background and family history with flashbacks, in which we meet his ex-wife and daughter, whose college tuition he can’t afford. His father (Tom Skerritt) bitterly deplores the outsourcing of American jobs to other countries. As a former executive for the Schwinn Bicycle Company, Alan, we learn, once shipped jobs abroad. Much of “A Hologram for the King” feels like science fiction. We’re familiar with pictures of the futuristic towers of Dubai, flickering in the heat. But this partly constructed ghost town in the middle of a desert suggests an outpost in a different galaxy, where Alan and his team resemble a befuddled, less confident Captain Kirk and his crew waiting for the aliens to reveal themselves. Alan’s guide on this faraway planet is Yousef (Alexander Black), a goofy, oddly paranoid taxi driver who is obsessed with loud American rock music. Their scenes come the closest to traditional comedy. “A Hologram for the King” ponders a modern world in the thrall of illusions. Of what essential use is a holographic teleconferencing system, we are never told. In their semireality, the King’s Metropolis of Economy and Trade and the ghostly holograms Alan is selling might just as well be a desert mirage. “A Hologram for the King” is rated R (Under 17 requires accompanying parent or adult guardian) for some sexuality and nudity, strong language and brief drug use. Running time: 1 hour 37 minutes.` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_url` will be updated with value `https://vimeo.com/150193` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `include_document` will be updated with value `1` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_synposis` will be updated with value `It takes an actor with the finesse of Tom Hanks to turn a story of confusion, perplexity, frustration and panic into an agreeably uncomfortable comedy. But that’s what Mr. Hanks accomplishes in the German filmmaker Tom Tykwer’s easygoing screen adaptation of Dave Eggers’s novel “A Hologram for the King.” This fanciful tale about Alan Clay, an American consultant visiting Saudi Arabia to sell a holographic teleconferencing system to the Saudi government, has been transformed through the force of Mr. Hanks’s nice-guy personality. His performance elevates an ominous, downbeat reflection on American decline and runaway technology into a subdued absurdist farce with dark geopolitical undercurrents. The movie is set in 2010, when America was still reeling from the financial crisis and months before the beginning of the Arab Spring uprisings that eventually transformed much of the Middle East into a grisly battleground. In the surreal opening scene, Alan walks down a suburban street, loudly singing the Talking Heads song “Once in a Lifetime,” whose narrator asks you to imagine losing your house and your wife. All at once, we have landed in Jeddah, Saudi Arabia, in a topsy-turvy world of technological disruption and hierarchal imbalance. Alan is in a wretched state when he arrives. Broke, depressed, newly divorced and desperate to regain his financial footing, he is acutely aware that his entire future depends on the successful completion of a deal involving the sale of a miraculous invention that suggests the modern equivalent of Aladdin’s magic lamp. Later in the movie, we see a brief, underwhelming demonstration of its wonders. From the moment Alan lands, he encounters humiliating obstacles. The king, he is told, is away but is expected back very soon. But the days drag on, and the lives of Alan and the three-person I.T. support team that preceded him become a Beckettian waiting game. Instead of a modern hotel, Alan finds his assistants languishing in a sweltering tent without air-conditioning or Wi-Fi in the King’s Metropolis of Economy and Trade, a fictionalized version of King Abdullah Economic City. This metropolis, still under construction, consists of mostly empty skyscrapers. The scenes in which he wanders through this desolate ghost city, which seems in a state of suspension, are among the film’s strongest. Jet-lagged and sleep-deprived, Alan tries in vain to find his bearings, while obsessing about a strange lump on his back that he unsuccessfully tries to remove. His tentative surgery on himself leads him to consult Zahra Hakem (Sarita Choudhury, from “Homeland”), a Saudi doctor with whom he develops an unlikely romantic connection. A screen adaptation of “A Hologram for the King” could have taken any of several approaches. It could have been a satire of American provincialism and culture clash in a tech-dependent world, with Alan portrayed as a bumbling, overconfident fool living in the past. But Mr. Hanks’s embodiment of an unflappably positive, if frustrated, American Everyman, who refuses to give up or to surrender his can-do attitude, grounds the movie. Somehow, you suspect, his situation will be resolved by good old-fashioned American know-how. Alan becomes infuriated but never enraged. Confronting disaster, he grits his teeth and puts on an optimistic face. Mr. Hanks, in his best clownish mode, scrunches his features into all manner of amusing grimaces. But even when Alan is on the brink of nervous exhaustion, you trust him to find the answers. The movie’s weaker scenes try to fill in his background and family history with flashbacks, in which we meet his ex-wife and daughter, whose college tuition he can’t afford. His father (Tom Skerritt) bitterly deplores the outsourcing of American jobs to other countries. As a former executive for the Schwinn Bicycle Company, Alan, we learn, once shipped jobs abroad. Much of “A Hologram for the King” feels like science fiction. We’re familiar with pictures of the futuristic towers of Dubai, flickering in the heat. But this partly constructed ghost town in the middle of a desert suggests an outpost in a different galaxy, where Alan and his team resemble a befuddled, less confident Captain Kirk and his crew waiting for the aliens to reveal themselves. Alan’s guide on this faraway planet is Yousef (Alexander Black), a goofy, oddly paranoid taxi driver who is obsessed with loud American rock music. Their scenes come the closest to traditional comedy. “A Hologram for the King” ponders a modern world in the thrall of illusions. Of what essential use is a holographic teleconferencing system, we are never told. In their semireality, the King’s Metropolis of Economy and Trade and the ghostly holograms Alan is selling might just as well be a desert mirage. “A Hologram for the King” is rated R (Under 17 requires accompanying parent or adult guardian) for some sexuality and nudity, strong language and brief drug use. Running time: 1 hour 37 minutes.` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `It takes an actor with the finesse of Tom Hanks to turn a story of confusion, perplexity, frustration and panic into an agreeably uncomfortable comedy. But that’s what Mr. Hanks accomplishes in the German filmmaker Tom Tykwer’s easygoing screen adaptation of Dave Eggers’s novel “A Hologram for the King.” This fanciful tale about Alan Clay, an American consultant visiting Saudi Arabia to sell a holographic teleconferencing system to the Saudi government, has been transformed through the force of Mr. Hanks’s nice-guy personality. His performance elevates an ominous, downbeat reflection on American decline and runaway technology into a subdued absurdist farce with dark geopolitical undercurrents. The movie is set in 2010, when America was still reeling from the financial crisis and months before the beginning of the Arab Spring uprisings that eventually transformed much of the Middle East into a grisly battleground. In the surreal opening scene, Alan walks down a suburban street, loudly singing the Talking Heads song “Once in a Lifetime,” whose narrator asks you to imagine losing your house and your wife. All at once, we have landed in Jeddah, Saudi Arabia, in a topsy-turvy world of technological disruption and hierarchal imbalance. Alan is in a wretched state when he arrives. Broke, depressed, newly divorced and desperate to regain his financial footing, he is acutely aware that his entire future depends on the successful completion of a deal involving the sale of a miraculous invention that suggests the modern equivalent of Aladdin’s magic lamp. Later in the movie, we see a brief, underwhelming demonstration of its wonders. From the moment Alan lands, he encounters humiliating obstacles. The king, he is told, is away but is expected back very soon. But the days drag on, and the lives of Alan and the three-person I.T. support team that preceded him become a Beckettian waiting game. Instead of a modern hotel, Alan finds his assistants languishing in a sweltering tent without air-conditioning or Wi-Fi in the King’s Metropolis of Economy and Trade, a fictionalized version of King Abdullah Economic City. This metropolis, still under construction, consists of mostly empty skyscrapers. The scenes in which he wanders through this desolate ghost city, which seems in a state of suspension, are among the film’s strongest. Jet-lagged and sleep-deprived, Alan tries in vain to find his bearings, while obsessing about a strange lump on his back that he unsuccessfully tries to remove. His tentative surgery on himself leads him to consult Zahra Hakem (Sarita Choudhury, from “Homeland”), a Saudi doctor with whom he develops an unlikely romantic connection. A screen adaptation of “A Hologram for the King” could have taken any of several approaches. It could have been a satire of American provincialism and culture clash in a tech-dependent world, with Alan portrayed as a bumbling, overconfident fool living in the past. But Mr. Hanks’s embodiment of an unflappably positive, if frustrated, American Everyman, who refuses to give up or to surrender his can-do attitude, grounds the movie. Somehow, you suspect, his situation will be resolved by good old-fashioned American know-how. Alan becomes infuriated but never enraged. Confronting disaster, he grits his teeth and puts on an optimistic face. Mr. Hanks, in his best clownish mode, scrunches his features into all manner of amusing grimaces. But even when Alan is on the brink of nervous exhaustion, you trust him to find the answers. The movie’s weaker scenes try to fill in his background and family history with flashbacks, in which we meet his ex-wife and daughter, whose college tuition he can’t afford. His father (Tom Skerritt) bitterly deplores the outsourcing of American jobs to other countries. As a former executive for the Schwinn Bicycle Company, Alan, we learn, once shipped jobs abroad. Much of “A Hologram for the King” feels like science fiction. We’re familiar with pictures of the futuristic towers of Dubai, flickering in the heat. But this partly constructed ghost town in the middle of a desert suggests an outpost in a different galaxy, where Alan and his team resemble a befuddled, less confident Captain Kirk and his crew waiting for the aliens to reveal themselves. Alan’s guide on this faraway planet is Yousef (Alexander Black), a goofy, oddly paranoid taxi driver who is obsessed with loud American rock music. Their scenes come the closest to traditional comedy. “A Hologram for the King” ponders a modern world in the thrall of illusions. Of what essential use is a holographic teleconferencing system, we are never told. In their semireality, the King’s Metropolis of Economy and Trade and the ghostly holograms Alan is selling might just as well be a desert mirage. “A Hologram for the King” is rated R (Under 17 requires accompanying parent or adult guardian) for some sexuality and nudity, strong language and brief drug use. Running time: 1 hour 37 minutes.` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `document_synopsis` will be updated with value `` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Mortal Kombat (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] IMAGES:

[16:32:39] TAXONOMIES:

[16:32:39] - Importing taxonomy `resource_category` ...

[16:32:39] - Attempted to create parent Resource resource_category `Judges`, duplicate detected. Importing Resource to existing `Judges` resource_category, ID 677, slug `judges` ...

[16:32:39] - Attempted to create parent Resource resource_category `Modernity`, duplicate detected. Importing Resource to existing `Modernity` resource_category, ID 681, slug `modernity` ...

[16:32:39] - Attempted to create parent Resource resource_category `New testament`, duplicate detected. Importing Resource to existing `New testament` resource_category, ID 672, slug `new-testament` ...

[16:32:39] - Attempted to create parent Resource resource_category `Old testament`, duplicate detected. Importing Resource to existing `Old testament` resource_category, ID 670, slug `old-testament` ...

[16:32:39] - Importing taxonomy `video_contributor` ...

[16:32:39] - Importing taxonomy `document_contributor` ...

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[16:32:39] ACTION: pmxi_saved_post

[16:32:39] ACTION: pmxi_after_post_import

[16:32:39] ---

[16:32:39] Record #44

[16:32:39] ACTION: pmxi_before_post_import ...

[16:32:39] Combine all data for post `To Die For (1995)`...

[16:32:39] Find corresponding article among previously imported for post `To Die For (1995)`...

[16:32:39] Duplicate post wasn't found with unique key `1736`...

[16:32:39] Applying filter `pmxi_article_data` for `To Die For (1995)`

[16:32:39] CREATING `To Die For (1995)` `Resource`

[16:32:39] Associate post `To Die For (1995)` with current import ...

[16:32:39] CUSTOM FIELDS:

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `subject` will be updated with value `This is what the punter will see` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `include_video` will be updated with value `1` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `The trailer for “Baaghi” has a body-count ticker — a winking boast about the movie’s martial spirit — that tops out at 114. And though I didn’t tally ’em up, it’s true that body after expendable body is thwacked, pummeled and left for dead in “Baaghi,” as our hero, Ronny, fights his way to … well, to what exactly? Early in “Baaghi,” a Bollywood action movie with the usual grab bag of romance, comedy and drama, Ronny (Tiger Shroff, son of the ’80s star Jackie Shroff) shows up at a martial arts academy in Kerala. On the train ride there he finds a girl, Sia (Shraddha Kapoor), and at the academy he finds a guru. Ronny, we’re told in words and song, is a rebel, though really he’s just young, cocky and clueless, a sweet-faced muscle boy. Almost accidentally (the guru has stealth methods), Ronny grows into a disciplined fighter. For no particular reason, we’re still meant to consider him a rebel and, to up the ante, a modern-day Rama, hero of the Indian epic “The Ramayana.” After making clear this link to “The Ramayana” about midway through the movie, the filmmakers Sabbir Khan (director) and Sanjeev Dutta (writer) proceed to draw it out: Sia is Sita (Rama’s wife), and she’s kidnapped not once but twice — to be kidnapped once is misfortune; twice looks like carelessness (in this case, the writer’s) — by the demonic Raghav, who brings her to Bangkok, where a blind taxi driver tells us that he’s the story’s Hanuman, the trickster monkey god. But because the filmmakers have given their characters labels (rebel, guru, villain) instead of personalities, the movie’s bid for epic resonance feels particularly hollow. Ronny may just be some guy with a grudge (and flying fists and feet), but surely Rama is something more. At least Ronny has a gimmick; Sia/Sita is a blank, the love interest, full stop. Her outstanding feature is that she likes rain. Mostly “Baaghi” is a fight movie, and a slightly dull one at that, overstuffed with boom-boom set pieces. (Its action sequences have been accused of resembling too closely the Indonesian movie “The Raid: Redemption.”) And while Mr. Shroff moves well — he bounces balletically off walls to deliver knockout kicks and dances with loose-hipped grace — he never makes you care about the rebel Ronny who would be king. “Baaghi” is not rated. It is in Hindi, with English subtitles. Running time: 2 hours 30 minutes.` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_url` will be updated with value `https://vimeo.com/150578` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `include_document` will be updated with value `1` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_synposis` will be updated with value `The trailer for “Baaghi” has a body-count ticker — a winking boast about the movie’s martial spirit — that tops out at 114. And though I didn’t tally ’em up, it’s true that body after expendable body is thwacked, pummeled and left for dead in “Baaghi,” as our hero, Ronny, fights his way to … well, to what exactly? Early in “Baaghi,” a Bollywood action movie with the usual grab bag of romance, comedy and drama, Ronny (Tiger Shroff, son of the ’80s star Jackie Shroff) shows up at a martial arts academy in Kerala. On the train ride there he finds a girl, Sia (Shraddha Kapoor), and at the academy he finds a guru. Ronny, we’re told in words and song, is a rebel, though really he’s just young, cocky and clueless, a sweet-faced muscle boy. Almost accidentally (the guru has stealth methods), Ronny grows into a disciplined fighter. For no particular reason, we’re still meant to consider him a rebel and, to up the ante, a modern-day Rama, hero of the Indian epic “The Ramayana.” After making clear this link to “The Ramayana” about midway through the movie, the filmmakers Sabbir Khan (director) and Sanjeev Dutta (writer) proceed to draw it out: Sia is Sita (Rama’s wife), and she’s kidnapped not once but twice — to be kidnapped once is misfortune; twice looks like carelessness (in this case, the writer’s) — by the demonic Raghav, who brings her to Bangkok, where a blind taxi driver tells us that he’s the story’s Hanuman, the trickster monkey god. But because the filmmakers have given their characters labels (rebel, guru, villain) instead of personalities, the movie’s bid for epic resonance feels particularly hollow. Ronny may just be some guy with a grudge (and flying fists and feet), but surely Rama is something more. At least Ronny has a gimmick; Sia/Sita is a blank, the love interest, full stop. Her outstanding feature is that she likes rain. Mostly “Baaghi” is a fight movie, and a slightly dull one at that, overstuffed with boom-boom set pieces. (Its action sequences have been accused of resembling too closely the Indonesian movie “The Raid: Redemption.”) And while Mr. Shroff moves well — he bounces balletically off walls to deliver knockout kicks and dances with loose-hipped grace — he never makes you care about the rebel Ronny who would be king. “Baaghi” is not rated. It is in Hindi, with English subtitles. Running time: 2 hours 30 minutes.` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `The trailer for “Baaghi” has a body-count ticker — a winking boast about the movie’s martial spirit — that tops out at 114. And though I didn’t tally ’em up, it’s true that body after expendable body is thwacked, pummeled and left for dead in “Baaghi,” as our hero, Ronny, fights his way to … well, to what exactly? Early in “Baaghi,” a Bollywood action movie with the usual grab bag of romance, comedy and drama, Ronny (Tiger Shroff, son of the ’80s star Jackie Shroff) shows up at a martial arts academy in Kerala. On the train ride there he finds a girl, Sia (Shraddha Kapoor), and at the academy he finds a guru. Ronny, we’re told in words and song, is a rebel, though really he’s just young, cocky and clueless, a sweet-faced muscle boy. Almost accidentally (the guru has stealth methods), Ronny grows into a disciplined fighter. For no particular reason, we’re still meant to consider him a rebel and, to up the ante, a modern-day Rama, hero of the Indian epic “The Ramayana.” After making clear this link to “The Ramayana” about midway through the movie, the filmmakers Sabbir Khan (director) and Sanjeev Dutta (writer) proceed to draw it out: Sia is Sita (Rama’s wife), and she’s kidnapped not once but twice — to be kidnapped once is misfortune; twice looks like carelessness (in this case, the writer’s) — by the demonic Raghav, who brings her to Bangkok, where a blind taxi driver tells us that he’s the story’s Hanuman, the trickster monkey god. But because the filmmakers have given their characters labels (rebel, guru, villain) instead of personalities, the movie’s bid for epic resonance feels particularly hollow. Ronny may just be some guy with a grudge (and flying fists and feet), but surely Rama is something more. At least Ronny has a gimmick; Sia/Sita is a blank, the love interest, full stop. Her outstanding feature is that she likes rain. Mostly “Baaghi” is a fight movie, and a slightly dull one at that, overstuffed with boom-boom set pieces. (Its action sequences have been accused of resembling too closely the Indonesian movie “The Raid: Redemption.”) And while Mr. Shroff moves well — he bounces balletically off walls to deliver knockout kicks and dances with loose-hipped grace — he never makes you care about the rebel Ronny who would be king. “Baaghi” is not rated. It is in Hindi, with English subtitles. Running time: 2 hours 30 minutes.` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `document_synopsis` will be updated with value `` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `To Die For (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

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[16:32:39] - Attempted to create parent Resource resource_category `History`, duplicate detected. Importing Resource to existing `History` resource_category, ID 679, slug `history` ...

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[16:32:39] - Importing taxonomy `video_contributor` ...

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[16:32:39] ACTION: pmxi_saved_post

[16:32:39] ACTION: pmxi_after_post_import

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[16:32:39] Record #45

[16:32:39] ACTION: pmxi_before_post_import ...

[16:32:39] Combine all data for post `How to Make an American Quilt (1995)`...

[16:32:39] Find corresponding article among previously imported for post `How to Make an American Quilt (1995)`...

[16:32:39] Duplicate post wasn't found with unique key `1737`...

[16:32:39] Applying filter `pmxi_article_data` for `How to Make an American Quilt (1995)`

[16:32:39] CREATING `How to Make an American Quilt (1995)` `Resource`

[16:32:39] Associate post `How to Make an American Quilt (1995)` with current import ...

[16:32:39] CUSTOM FIELDS:

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `subject` will be updated with value `This is what the punter will see` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `include_video` will be updated with value `1` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `The streets of Philadelphia are a romantic hunting ground for the four main characters in “Beautiful Something,” Joseph Graham’s bleak, agonized study of gay men looking for connection. Brian (Brian Sheppard) is a poet seeking more than a quick hookup. The infuriatingly bratty Jim (Zack Ryan), an aspiring actor, is the live-in boyfriend of Drew (Colman Domingo), an older world-famous metal sculptor who adores him. But Jim is so jealous of Drew’s devotion to art that he feels neglected and threatens to move out. Bob (John Lescault) is a rich, sleazy Hollywood talent agent in his mid-60s who cruises around in a white limousine looking to pay for sex. Why he’s in Philadelphia, of all cities, is never explained. The gay street scene depicted in the movie feels more like the 1970s than now, and the film’s dominant mood is one of feverish desperation and hunger. Lessons are learned, but the movie is in dire need of character development and a wider social context.` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_url` will be updated with value `https://vimeo.com/150662` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `include_document` will be updated with value `1` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_synposis` will be updated with value `The streets of Philadelphia are a romantic hunting ground for the four main characters in “Beautiful Something,” Joseph Graham’s bleak, agonized study of gay men looking for connection. Brian (Brian Sheppard) is a poet seeking more than a quick hookup. The infuriatingly bratty Jim (Zack Ryan), an aspiring actor, is the live-in boyfriend of Drew (Colman Domingo), an older world-famous metal sculptor who adores him. But Jim is so jealous of Drew’s devotion to art that he feels neglected and threatens to move out. Bob (John Lescault) is a rich, sleazy Hollywood talent agent in his mid-60s who cruises around in a white limousine looking to pay for sex. Why he’s in Philadelphia, of all cities, is never explained. The gay street scene depicted in the movie feels more like the 1970s than now, and the film’s dominant mood is one of feverish desperation and hunger. Lessons are learned, but the movie is in dire need of character development and a wider social context.` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `The streets of Philadelphia are a romantic hunting ground for the four main characters in “Beautiful Something,” Joseph Graham’s bleak, agonized study of gay men looking for connection. Brian (Brian Sheppard) is a poet seeking more than a quick hookup. The infuriatingly bratty Jim (Zack Ryan), an aspiring actor, is the live-in boyfriend of Drew (Colman Domingo), an older world-famous metal sculptor who adores him. But Jim is so jealous of Drew’s devotion to art that he feels neglected and threatens to move out. Bob (John Lescault) is a rich, sleazy Hollywood talent agent in his mid-60s who cruises around in a white limousine looking to pay for sex. Why he’s in Philadelphia, of all cities, is never explained. The gay street scene depicted in the movie feels more like the 1970s than now, and the film’s dominant mood is one of feverish desperation and hunger. Lessons are learned, but the movie is in dire need of character development and a wider social context.` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `document_synopsis` will be updated with value `` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `How to Make an American Quilt (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

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[16:32:39] - Attempted to create parent Resource resource_category `Judges`, duplicate detected. Importing Resource to existing `Judges` resource_category, ID 677, slug `judges` ...

[16:32:39] - Importing taxonomy `video_contributor` ...

[16:32:39] - Importing taxonomy `document_contributor` ...

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[16:32:39] ACTION: pmxi_saved_post

[16:32:39] ACTION: pmxi_after_post_import

[16:32:39] ---

[16:32:39] Record #46

[16:32:39] ACTION: pmxi_before_post_import ...

[16:32:39] Combine all data for post `Seven (a.k.a. Se7en) (1995)`...

[16:32:39] Find corresponding article among previously imported for post `Seven (a.k.a. Se7en) (1995)`...

[16:32:39] Duplicate post wasn't found with unique key `1738`...

[16:32:39] Applying filter `pmxi_article_data` for `Seven (a.k.a. Se7en) (1995)`

[16:32:39] CREATING `Seven (a.k.a. Se7en) (1995)` `Resource`

[16:32:39] Associate post `Seven (a.k.a. Se7en) (1995)` with current import ...

[16:32:39] CUSTOM FIELDS:

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Seven (a.k.a. Se7en) (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Seven (a.k.a. Se7en) (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

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[16:32:39] - ACTION: pmxi_update_post_meta

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[16:32:39] - ACTION: pmxi_update_post_meta

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[16:32:39] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Seven (a.k.a. Se7en) (1995)` ...

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[16:32:39] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `In “Being Charlie,” the director Rob Reiner breaks out of his sentimental sitcom mode to focus on the angst of a rich, entitled Los Angeles family. The title character, Charlie Mills (Nick Robinson), is its spoiled golden boy, a surly drug-addicted brat we first meet on his 18th birthday as he abandons the latest in a series of rehab institutions. This sour apple hasn’t fallen far from the tree. Charlie’s father, David (Cary Elwes), is a stunningly fatuous candidate for California governor who made his fortune as the star of a blockbuster Hollywood franchise about pirates. With his slicked blond hair and cold, arrogant sneer, this politician-come-lately is an empty suit robotically shaking hands while spewing inane platitudes at meet-and-greets. He has a fractious relationship with his tense, neurotic wife, Liseanne (Susan Misner). “Being Charlie” has a strong autobiographical component. According to the production notes, Nick Reiner (the director’s son) wrote the screenplay with Matt Elisofon, whom he met in rehab. Charlie, like Mr. Elisofon, is an aspiring stand-up comedian. And the brief scenes of Charlie on the stage reveal him to be a brash show-off with at least a modicum of talent. Let’s assume that Rob Reiner made a movie peopled with disagreeable characters to transcend the feel-good clichés of the nostalgic family entertainments for which he’s known with a more realistic film about contemporary issues. But the movie’s refusal to abandon commercial formulas and examine its characters’ inner lives suggests that the director’s years inside the Hollywood bubble may have prevented him from recognizing the degree to which independent films and television are already overrun with deeper, more sensitive explorations of addiction and recovery. When Charlie inevitably relapses and trolls Los Angeles’s meaner streets for a fix, you feel little sympathy for a character so shallow he seems incapable of introspection. Father-son confrontations and tough-love warnings from a rehab counselor (played by Common) are little more than boilerplate harangues. The movie’s first of many mistakes is to throw in a girlfriend from rehab, Eva (Morgan Saylor), with whom Charlie flouts rules that discourage romantic relationships among patients. Although Ms. Saylor brings some personality to her turbulent, unfocused character, you have the queasy sense that somebody decided the movie needed a pretty woman to give it some juice. But soon enough, “Being Charlie” forgets about Eva to concentrate on Charlie’s gruesome relapse on the eve of the governor’s election, and David’s having to cope with the negative publicity about his son’s behavior. It takes a drug-related tragedy to bring Charlie to his senses. The perfunctory upbeat ending leaves you unconvinced that worst is over. “Being Charlie” is not rated. Running time: 1 hour 37 minutes.` for post `Seven (a.k.a. Se7en) (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Seven (a.k.a. Se7en) (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

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[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Seven (a.k.a. Se7en) (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_url` will be updated with value `https://vimeo.com/150772` for post `Seven (a.k.a. Se7en) (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Seven (a.k.a. Se7en) (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

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[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Seven (a.k.a. Se7en) (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

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[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_synposis` will be updated with value `In “Being Charlie,” the director Rob Reiner breaks out of his sentimental sitcom mode to focus on the angst of a rich, entitled Los Angeles family. The title character, Charlie Mills (Nick Robinson), is its spoiled golden boy, a surly drug-addicted brat we first meet on his 18th birthday as he abandons the latest in a series of rehab institutions. This sour apple hasn’t fallen far from the tree. Charlie’s father, David (Cary Elwes), is a stunningly fatuous candidate for California governor who made his fortune as the star of a blockbuster Hollywood franchise about pirates. With his slicked blond hair and cold, arrogant sneer, this politician-come-lately is an empty suit robotically shaking hands while spewing inane platitudes at meet-and-greets. He has a fractious relationship with his tense, neurotic wife, Liseanne (Susan Misner). “Being Charlie” has a strong autobiographical component. According to the production notes, Nick Reiner (the director’s son) wrote the screenplay with Matt Elisofon, whom he met in rehab. Charlie, like Mr. Elisofon, is an aspiring stand-up comedian. And the brief scenes of Charlie on the stage reveal him to be a brash show-off with at least a modicum of talent. Let’s assume that Rob Reiner made a movie peopled with disagreeable characters to transcend the feel-good clichés of the nostalgic family entertainments for which he’s known with a more realistic film about contemporary issues. But the movie’s refusal to abandon commercial formulas and examine its characters’ inner lives suggests that the director’s years inside the Hollywood bubble may have prevented him from recognizing the degree to which independent films and television are already overrun with deeper, more sensitive explorations of addiction and recovery. When Charlie inevitably relapses and trolls Los Angeles’s meaner streets for a fix, you feel little sympathy for a character so shallow he seems incapable of introspection. Father-son confrontations and tough-love warnings from a rehab counselor (played by Common) are little more than boilerplate harangues. The movie’s first of many mistakes is to throw in a girlfriend from rehab, Eva (Morgan Saylor), with whom Charlie flouts rules that discourage romantic relationships among patients. Although Ms. Saylor brings some personality to her turbulent, unfocused character, you have the queasy sense that somebody decided the movie needed a pretty woman to give it some juice. But soon enough, “Being Charlie” forgets about Eva to concentrate on Charlie’s gruesome relapse on the eve of the governor’s election, and David’s having to cope with the negative publicity about his son’s behavior. It takes a drug-related tragedy to bring Charlie to his senses. The perfunctory upbeat ending leaves you unconvinced that worst is over. “Being Charlie” is not rated. Running time: 1 hour 37 minutes.` for post `Seven (a.k.a. Se7en) (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Seven (a.k.a. Se7en) (1995)` ...

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[16:32:39] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `In “Being Charlie,” the director Rob Reiner breaks out of his sentimental sitcom mode to focus on the angst of a rich, entitled Los Angeles family. The title character, Charlie Mills (Nick Robinson), is its spoiled golden boy, a surly drug-addicted brat we first meet on his 18th birthday as he abandons the latest in a series of rehab institutions. This sour apple hasn’t fallen far from the tree. Charlie’s father, David (Cary Elwes), is a stunningly fatuous candidate for California governor who made his fortune as the star of a blockbuster Hollywood franchise about pirates. With his slicked blond hair and cold, arrogant sneer, this politician-come-lately is an empty suit robotically shaking hands while spewing inane platitudes at meet-and-greets. He has a fractious relationship with his tense, neurotic wife, Liseanne (Susan Misner). “Being Charlie” has a strong autobiographical component. According to the production notes, Nick Reiner (the director’s son) wrote the screenplay with Matt Elisofon, whom he met in rehab. Charlie, like Mr. Elisofon, is an aspiring stand-up comedian. And the brief scenes of Charlie on the stage reveal him to be a brash show-off with at least a modicum of talent. Let’s assume that Rob Reiner made a movie peopled with disagreeable characters to transcend the feel-good clichés of the nostalgic family entertainments for which he’s known with a more realistic film about contemporary issues. But the movie’s refusal to abandon commercial formulas and examine its characters’ inner lives suggests that the director’s years inside the Hollywood bubble may have prevented him from recognizing the degree to which independent films and television are already overrun with deeper, more sensitive explorations of addiction and recovery. When Charlie inevitably relapses and trolls Los Angeles’s meaner streets for a fix, you feel little sympathy for a character so shallow he seems incapable of introspection. Father-son confrontations and tough-love warnings from a rehab counselor (played by Common) are little more than boilerplate harangues. The movie’s first of many mistakes is to throw in a girlfriend from rehab, Eva (Morgan Saylor), with whom Charlie flouts rules that discourage romantic relationships among patients. Although Ms. Saylor brings some personality to her turbulent, unfocused character, you have the queasy sense that somebody decided the movie needed a pretty woman to give it some juice. But soon enough, “Being Charlie” forgets about Eva to concentrate on Charlie’s gruesome relapse on the eve of the governor’s election, and David’s having to cope with the negative publicity about his son’s behavior. It takes a drug-related tragedy to bring Charlie to his senses. The perfunctory upbeat ending leaves you unconvinced that worst is over. “Being Charlie” is not rated. Running time: 1 hour 37 minutes.` for post `Seven (a.k.a. Se7en) (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

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[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

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[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Seven (a.k.a. Se7en) (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

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[16:32:39] ---

[16:32:39] Record #47

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[16:32:39] Combine all data for post `Pocahontas (1995)`...

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[16:32:39] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

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[16:32:39] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

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[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `“Bourek,” which takes its title from a flaky Mediterranean pastry, is described in the publicity notes, somewhat optimistically, as a comedy. Viewers, however, are unlikely to be more than marginally amused by its fair-to-middling acting, enervated plot and forcibly diverse group of drifting souls gathered on the fictional Greek island of Khronos. That island, though, is languidly pretty, photographed in tones of butterscotch and cerulean by the Serbian cinematographer Vladimir Subotic (a regular collaborator of the writer and director, Vladan Nikolic). In this burnished idyll, assorted characters bicker and lounge against a backdrop of news reports heralding social and financial catastrophe. An American billionaire (William Leroy) hunkers with his money and his gold-digging honey, waiting for the apocalypse promised by a white-suited televangelist (gustily played by Paul Sevigny, Chloë Sevigny’s brother). A radiant Greek woman (Katerina Misichroni) struggles to protect her debt-squeezed restaurant from a pushy developer while caring for an amnesiac British D.J. Around them, a flotsam of idiosyncratic travelers — a Yeats-quoting Libyan refugee; a Turkish drug dealer-cum-baker — ebbs and flows, saddled with naïvely hackneyed dialogue and a director who seems to be entertaining only himself. Yet Mr. Nikolic, whose 2015 feature “Allure” had an engaging originality that this movie lacks, has a talent for conjuring wistful disillusion among those buffeted by the winds of capitalism and change. When faced with disaster, he seems to be saying, go back to first principles: Eat, dance, fool around. And steal as much money as you can.` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_url` will be updated with value `https://vimeo.com/channels/staffpicks/150854` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

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[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_synposis` will be updated with value `“Bourek,” which takes its title from a flaky Mediterranean pastry, is described in the publicity notes, somewhat optimistically, as a comedy. Viewers, however, are unlikely to be more than marginally amused by its fair-to-middling acting, enervated plot and forcibly diverse group of drifting souls gathered on the fictional Greek island of Khronos. That island, though, is languidly pretty, photographed in tones of butterscotch and cerulean by the Serbian cinematographer Vladimir Subotic (a regular collaborator of the writer and director, Vladan Nikolic). In this burnished idyll, assorted characters bicker and lounge against a backdrop of news reports heralding social and financial catastrophe. An American billionaire (William Leroy) hunkers with his money and his gold-digging honey, waiting for the apocalypse promised by a white-suited televangelist (gustily played by Paul Sevigny, Chloë Sevigny’s brother). A radiant Greek woman (Katerina Misichroni) struggles to protect her debt-squeezed restaurant from a pushy developer while caring for an amnesiac British D.J. Around them, a flotsam of idiosyncratic travelers — a Yeats-quoting Libyan refugee; a Turkish drug dealer-cum-baker — ebbs and flows, saddled with naïvely hackneyed dialogue and a director who seems to be entertaining only himself. Yet Mr. Nikolic, whose 2015 feature “Allure” had an engaging originality that this movie lacks, has a talent for conjuring wistful disillusion among those buffeted by the winds of capitalism and change. When faced with disaster, he seems to be saying, go back to first principles: Eat, dance, fool around. And steal as much money as you can.` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `“Bourek,” which takes its title from a flaky Mediterranean pastry, is described in the publicity notes, somewhat optimistically, as a comedy. Viewers, however, are unlikely to be more than marginally amused by its fair-to-middling acting, enervated plot and forcibly diverse group of drifting souls gathered on the fictional Greek island of Khronos. That island, though, is languidly pretty, photographed in tones of butterscotch and cerulean by the Serbian cinematographer Vladimir Subotic (a regular collaborator of the writer and director, Vladan Nikolic). In this burnished idyll, assorted characters bicker and lounge against a backdrop of news reports heralding social and financial catastrophe. An American billionaire (William Leroy) hunkers with his money and his gold-digging honey, waiting for the apocalypse promised by a white-suited televangelist (gustily played by Paul Sevigny, Chloë Sevigny’s brother). A radiant Greek woman (Katerina Misichroni) struggles to protect her debt-squeezed restaurant from a pushy developer while caring for an amnesiac British D.J. Around them, a flotsam of idiosyncratic travelers — a Yeats-quoting Libyan refugee; a Turkish drug dealer-cum-baker — ebbs and flows, saddled with naïvely hackneyed dialogue and a director who seems to be entertaining only himself. Yet Mr. Nikolic, whose 2015 feature “Allure” had an engaging originality that this movie lacks, has a talent for conjuring wistful disillusion among those buffeted by the winds of capitalism and change. When faced with disaster, he seems to be saying, go back to first principles: Eat, dance, fool around. And steal as much money as you can.` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `document_synopsis` will be updated with value `` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Pocahontas (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] IMAGES:

[16:32:39] TAXONOMIES:

[16:32:39] - Importing taxonomy `resource_category` ...

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[16:32:39] - Attempted to create parent Resource resource_category `Timothy`, duplicate detected. Importing Resource to existing `Timothy` resource_category, ID 678, slug `timothy` ...

[16:32:39] - Importing taxonomy `video_contributor` ...

[16:32:39] - Importing taxonomy `document_contributor` ...

[16:32:39] CREATED `Pocahontas (1995)` `Resource` (ID: 2374)

[16:32:39] ACTION: pmxi_saved_post

[16:32:39] ACTION: pmxi_after_post_import

[16:32:39] ---

[16:32:39] Record #48

[16:32:39] ACTION: pmxi_before_post_import ...

[16:32:39] Combine all data for post `When Night Is Falling (1995)`...

[16:32:39] Find corresponding article among previously imported for post `When Night Is Falling (1995)`...

[16:32:39] Duplicate post wasn't found with unique key `1740`...

[16:32:39] Applying filter `pmxi_article_data` for `When Night Is Falling (1995)`

[16:32:39] CREATING `When Night Is Falling (1995)` `Resource`

[16:32:39] Associate post `When Night Is Falling (1995)` with current import ...

[16:32:39] CUSTOM FIELDS:

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `subject` will be updated with value `This is what the punter will see` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `include_video` will be updated with value `1` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `If you release a movie called “Captain America: Civil War” to an ideologically polarized nation in the midst of a notably contentious presidential campaign, you can expect to reap a whirlwind of think pieces. In spite of occasional public scolding about the rampant misuse of allegorical interpretation, hard-pressed, click-seeking cultural journalists and political pundits can be counted on to take up the hard work of finding echoes, resonances and subtexts in a big pop-cultural pseudo-event. If you hybridized Donald J. Trump and Elon Musk, would you get Tony Stark? Would Captain America’s endorsement have made a difference for John Kasich? Is Ant-Man a Bernie Bro? I hate to disappoint, but I have to say that I’m not really feeling it. The cues are there, of course. An aura of vaguely topical importance is as vital to a superhero-franchise movie as a merchandising deal. So “Civil War” pauses for a few moments of chin-scratching and speechifying about whether a group of genetically advantaged, highly weaponized individuals should be brought under the supervision of the United Nations. More seriously — because, come on now, do you really think Captain America is going to put on a blue U.N. helmet? — the film glances at some of the moral complexities of modern warfare. The designated good guys are responsible for the deaths of innocents, and the question of their accountability hovers over the movie and sets its plot in motion. But this very crowded, reasonably enjoyable installment in the Avengers cycle — written by Christopher Markus and Stephen McFeely and directed by Joe and Anthony Russo — reveals, even more than its predecessors, an essential truth about the Marvel Cinematic Universe. It’s not so much a grand science-fiction saga, or even a series of action-adventure movies, as a very expensive, perpetually renewed workplace sitcom. New characters are added as the seasons wear on. Cast members are replaced. The thing gets a little baroque and tests the boundaries of coherence, but we keep showing up because it can be pleasant, in a no-pressure, low-key kind of way, to hang out with these people as they banter and squabble and get the job done. Sometimes you want to go where everybody knows both your street name and your nom de cape. (And yes, thank you, I’m perfectly aware that these Marvel superheroes don’t wear capes.) In this episode, based on a run of comics written by Mark Millar, some of the usual crowd is missing. No Hulk. No Thor. No Nick Fury. The newcomers include Black Panther (Chadwick Boseman), whose first solo adventure is prophesied during the final credits, and a very young Spider-Man (Tom Holland), whose solo adventures are the property of a different movie studio. Do you need a list of the rest of them? There are a lot, and my space is limited. The headliners are Cap (Chris Evans, of course) and Iron Man (Robert Downey Jr., of course), and most of the others you hope will show up for at least a brisk punch-up, a bout of soul-searching or a self-conscious joke or two. “Captain America: Civil War” is like the last number at a big benefit concert, when a mob of pop stars squeezes onto the stage to sing “This Land Is Your Land,” or whatever. Some performers sing a whole verse. Others shake maracas for the cause and stare off into the middle distance. Scarlett Johansson is on board. Also Anthony Mackie, Don Cheadle, Paul Rudd, Elizabeth Olsen and so many more. You can go ahead and match them with their superhero identities and civilian alter egos. I’m not here to do your homework for you. The Russo brothers, whose résumés include “Arrested Development” as well as “Captain America: The Winter Soldier,” are better at dialogue than at action. The early chases and fights are hectic, stroboscopic messes, evidence less of the innovative power of digital effects than of the creative fatigue they can induce. It’s difficult to see exactly what’s going on, but you’ve seen it before anyway, so it hardly matters. People and vehicles are tossed around. Buildings blow up. Glass shatters. It all serves a cumbersome and not very original narrative. As in “Batman v Superman,” a dude with a grudge (Daniel Brühl) is determined to set the superheroes against one another. To call the fighting that ensues a civil war seems a bit grandiose, though. A more honest title would have been “Captain America: Collegial Misunderstanding” or “Captain America: Intramural Pickup Game.” The differences of opinion and temperament that cleave the Avengers — it comes down to Iron Man’s arrogance versus the Captain’s stubborn rectitude — provide a pretext for a few sequences of brawling and yelling that are actually kind of exciting to watch. The best part of the movie is a six-on-six rumble at an airport, in which two teams of costumed co-workers, with a few ringers in the mix, face off to work out their issues. The battle is entertaining precisely because the stakes are relatively low. No planets, cities or galaxies are in peril, and you can enjoy the spectacle without any of the usual action-movie queasiness about invisible and extensive civilian casualties. (Someone will have to clean up the mess, of course, but that just means overtime for the maintenance workers, who may even be unionized). And there is a solid, satisfying physicality to the effects. That’s true of the climactic mano a mano as well, though the mood is grimmer and the sense of personal grievance more intense. “Captain America: Civil War” does not in any way transcend the conventions of the genre. On the contrary: It succeeds because it doesn’t really try. The dialogue is peppered with movie and pop-cultural references — at one point, Spider-Man draws inspiration from “a really old movie” called “The Empire Strikes Back” — and there is even a sly joke about the proliferation of “enhanced” battlers of evil and world-threatening events. The movie seems aware that it risks wearing out its welcome, which would be disastrous, given that Marvel and Disney have already locked in release dates into the next decade. Tune in next time? Sure, why not. It’s a job somebody has to do. “Captain America: Civil War” is rated PG-13 (Parents strongly cautioned). A little more swearing and a lot less killing than you might expect. Running time: 2 hours 27 minutes.` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_url` will be updated with value `https://vimeo.com/channels/staffpicks/151388` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `include_document` will be updated with value `1` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_synposis` will be updated with value `If you release a movie called “Captain America: Civil War” to an ideologically polarized nation in the midst of a notably contentious presidential campaign, you can expect to reap a whirlwind of think pieces. In spite of occasional public scolding about the rampant misuse of allegorical interpretation, hard-pressed, click-seeking cultural journalists and political pundits can be counted on to take up the hard work of finding echoes, resonances and subtexts in a big pop-cultural pseudo-event. If you hybridized Donald J. Trump and Elon Musk, would you get Tony Stark? Would Captain America’s endorsement have made a difference for John Kasich? Is Ant-Man a Bernie Bro? I hate to disappoint, but I have to say that I’m not really feeling it. The cues are there, of course. An aura of vaguely topical importance is as vital to a superhero-franchise movie as a merchandising deal. So “Civil War” pauses for a few moments of chin-scratching and speechifying about whether a group of genetically advantaged, highly weaponized individuals should be brought under the supervision of the United Nations. More seriously — because, come on now, do you really think Captain America is going to put on a blue U.N. helmet? — the film glances at some of the moral complexities of modern warfare. The designated good guys are responsible for the deaths of innocents, and the question of their accountability hovers over the movie and sets its plot in motion. But this very crowded, reasonably enjoyable installment in the Avengers cycle — written by Christopher Markus and Stephen McFeely and directed by Joe and Anthony Russo — reveals, even more than its predecessors, an essential truth about the Marvel Cinematic Universe. It’s not so much a grand science-fiction saga, or even a series of action-adventure movies, as a very expensive, perpetually renewed workplace sitcom. New characters are added as the seasons wear on. Cast members are replaced. The thing gets a little baroque and tests the boundaries of coherence, but we keep showing up because it can be pleasant, in a no-pressure, low-key kind of way, to hang out with these people as they banter and squabble and get the job done. Sometimes you want to go where everybody knows both your street name and your nom de cape. (And yes, thank you, I’m perfectly aware that these Marvel superheroes don’t wear capes.) In this episode, based on a run of comics written by Mark Millar, some of the usual crowd is missing. No Hulk. No Thor. No Nick Fury. The newcomers include Black Panther (Chadwick Boseman), whose first solo adventure is prophesied during the final credits, and a very young Spider-Man (Tom Holland), whose solo adventures are the property of a different movie studio. Do you need a list of the rest of them? There are a lot, and my space is limited. The headliners are Cap (Chris Evans, of course) and Iron Man (Robert Downey Jr., of course), and most of the others you hope will show up for at least a brisk punch-up, a bout of soul-searching or a self-conscious joke or two. “Captain America: Civil War” is like the last number at a big benefit concert, when a mob of pop stars squeezes onto the stage to sing “This Land Is Your Land,” or whatever. Some performers sing a whole verse. Others shake maracas for the cause and stare off into the middle distance. Scarlett Johansson is on board. Also Anthony Mackie, Don Cheadle, Paul Rudd, Elizabeth Olsen and so many more. You can go ahead and match them with their superhero identities and civilian alter egos. I’m not here to do your homework for you. The Russo brothers, whose résumés include “Arrested Development” as well as “Captain America: The Winter Soldier,” are better at dialogue than at action. The early chases and fights are hectic, stroboscopic messes, evidence less of the innovative power of digital effects than of the creative fatigue they can induce. It’s difficult to see exactly what’s going on, but you’ve seen it before anyway, so it hardly matters. People and vehicles are tossed around. Buildings blow up. Glass shatters. It all serves a cumbersome and not very original narrative. As in “Batman v Superman,” a dude with a grudge (Daniel Brühl) is determined to set the superheroes against one another. To call the fighting that ensues a civil war seems a bit grandiose, though. A more honest title would have been “Captain America: Collegial Misunderstanding” or “Captain America: Intramural Pickup Game.” The differences of opinion and temperament that cleave the Avengers — it comes down to Iron Man’s arrogance versus the Captain’s stubborn rectitude — provide a pretext for a few sequences of brawling and yelling that are actually kind of exciting to watch. The best part of the movie is a six-on-six rumble at an airport, in which two teams of costumed co-workers, with a few ringers in the mix, face off to work out their issues. The battle is entertaining precisely because the stakes are relatively low. No planets, cities or galaxies are in peril, and you can enjoy the spectacle without any of the usual action-movie queasiness about invisible and extensive civilian casualties. (Someone will have to clean up the mess, of course, but that just means overtime for the maintenance workers, who may even be unionized). And there is a solid, satisfying physicality to the effects. That’s true of the climactic mano a mano as well, though the mood is grimmer and the sense of personal grievance more intense. “Captain America: Civil War” does not in any way transcend the conventions of the genre. On the contrary: It succeeds because it doesn’t really try. The dialogue is peppered with movie and pop-cultural references — at one point, Spider-Man draws inspiration from “a really old movie” called “The Empire Strikes Back” — and there is even a sly joke about the proliferation of “enhanced” battlers of evil and world-threatening events. The movie seems aware that it risks wearing out its welcome, which would be disastrous, given that Marvel and Disney have already locked in release dates into the next decade. Tune in next time? Sure, why not. It’s a job somebody has to do. “Captain America: Civil War” is rated PG-13 (Parents strongly cautioned). A little more swearing and a lot less killing than you might expect. Running time: 2 hours 27 minutes.` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `If you release a movie called “Captain America: Civil War” to an ideologically polarized nation in the midst of a notably contentious presidential campaign, you can expect to reap a whirlwind of think pieces. In spite of occasional public scolding about the rampant misuse of allegorical interpretation, hard-pressed, click-seeking cultural journalists and political pundits can be counted on to take up the hard work of finding echoes, resonances and subtexts in a big pop-cultural pseudo-event. If you hybridized Donald J. Trump and Elon Musk, would you get Tony Stark? Would Captain America’s endorsement have made a difference for John Kasich? Is Ant-Man a Bernie Bro? I hate to disappoint, but I have to say that I’m not really feeling it. The cues are there, of course. An aura of vaguely topical importance is as vital to a superhero-franchise movie as a merchandising deal. So “Civil War” pauses for a few moments of chin-scratching and speechifying about whether a group of genetically advantaged, highly weaponized individuals should be brought under the supervision of the United Nations. More seriously — because, come on now, do you really think Captain America is going to put on a blue U.N. helmet? — the film glances at some of the moral complexities of modern warfare. The designated good guys are responsible for the deaths of innocents, and the question of their accountability hovers over the movie and sets its plot in motion. But this very crowded, reasonably enjoyable installment in the Avengers cycle — written by Christopher Markus and Stephen McFeely and directed by Joe and Anthony Russo — reveals, even more than its predecessors, an essential truth about the Marvel Cinematic Universe. It’s not so much a grand science-fiction saga, or even a series of action-adventure movies, as a very expensive, perpetually renewed workplace sitcom. New characters are added as the seasons wear on. Cast members are replaced. The thing gets a little baroque and tests the boundaries of coherence, but we keep showing up because it can be pleasant, in a no-pressure, low-key kind of way, to hang out with these people as they banter and squabble and get the job done. Sometimes you want to go where everybody knows both your street name and your nom de cape. (And yes, thank you, I’m perfectly aware that these Marvel superheroes don’t wear capes.) In this episode, based on a run of comics written by Mark Millar, some of the usual crowd is missing. No Hulk. No Thor. No Nick Fury. The newcomers include Black Panther (Chadwick Boseman), whose first solo adventure is prophesied during the final credits, and a very young Spider-Man (Tom Holland), whose solo adventures are the property of a different movie studio. Do you need a list of the rest of them? There are a lot, and my space is limited. The headliners are Cap (Chris Evans, of course) and Iron Man (Robert Downey Jr., of course), and most of the others you hope will show up for at least a brisk punch-up, a bout of soul-searching or a self-conscious joke or two. “Captain America: Civil War” is like the last number at a big benefit concert, when a mob of pop stars squeezes onto the stage to sing “This Land Is Your Land,” or whatever. Some performers sing a whole verse. Others shake maracas for the cause and stare off into the middle distance. Scarlett Johansson is on board. Also Anthony Mackie, Don Cheadle, Paul Rudd, Elizabeth Olsen and so many more. You can go ahead and match them with their superhero identities and civilian alter egos. I’m not here to do your homework for you. The Russo brothers, whose résumés include “Arrested Development” as well as “Captain America: The Winter Soldier,” are better at dialogue than at action. The early chases and fights are hectic, stroboscopic messes, evidence less of the innovative power of digital effects than of the creative fatigue they can induce. It’s difficult to see exactly what’s going on, but you’ve seen it before anyway, so it hardly matters. People and vehicles are tossed around. Buildings blow up. Glass shatters. It all serves a cumbersome and not very original narrative. As in “Batman v Superman,” a dude with a grudge (Daniel Brühl) is determined to set the superheroes against one another. To call the fighting that ensues a civil war seems a bit grandiose, though. A more honest title would have been “Captain America: Collegial Misunderstanding” or “Captain America: Intramural Pickup Game.” The differences of opinion and temperament that cleave the Avengers — it comes down to Iron Man’s arrogance versus the Captain’s stubborn rectitude — provide a pretext for a few sequences of brawling and yelling that are actually kind of exciting to watch. The best part of the movie is a six-on-six rumble at an airport, in which two teams of costumed co-workers, with a few ringers in the mix, face off to work out their issues. The battle is entertaining precisely because the stakes are relatively low. No planets, cities or galaxies are in peril, and you can enjoy the spectacle without any of the usual action-movie queasiness about invisible and extensive civilian casualties. (Someone will have to clean up the mess, of course, but that just means overtime for the maintenance workers, who may even be unionized). And there is a solid, satisfying physicality to the effects. That’s true of the climactic mano a mano as well, though the mood is grimmer and the sense of personal grievance more intense. “Captain America: Civil War” does not in any way transcend the conventions of the genre. On the contrary: It succeeds because it doesn’t really try. The dialogue is peppered with movie and pop-cultural references — at one point, Spider-Man draws inspiration from “a really old movie” called “The Empire Strikes Back” — and there is even a sly joke about the proliferation of “enhanced” battlers of evil and world-threatening events. The movie seems aware that it risks wearing out its welcome, which would be disastrous, given that Marvel and Disney have already locked in release dates into the next decade. Tune in next time? Sure, why not. It’s a job somebody has to do. “Captain America: Civil War” is rated PG-13 (Parents strongly cautioned). A little more swearing and a lot less killing than you might expect. Running time: 2 hours 27 minutes.` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `document_synopsis` will be updated with value `` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `When Night Is Falling (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] IMAGES:

[16:32:39] TAXONOMIES:

[16:32:39] - Importing taxonomy `resource_category` ...

[16:32:39] - Attempted to create parent Resource resource_category `Modernity`, duplicate detected. Importing Resource to existing `Modernity` resource_category, ID 681, slug `modernity` ...

[16:32:39] - Attempted to create parent Resource resource_category `Old testament`, duplicate detected. Importing Resource to existing `Old testament` resource_category, ID 670, slug `old-testament` ...

[16:32:39] - Attempted to create parent Resource resource_category `Revelation`, duplicate detected. Importing Resource to existing `Revelation` resource_category, ID 669, slug `revelation` ...

[16:32:39] - Importing taxonomy `video_contributor` ...

[16:32:39] - Importing taxonomy `document_contributor` ...

[16:32:39] CREATED `When Night Is Falling (1995)` `Resource` (ID: 2375)

[16:32:39] ACTION: pmxi_saved_post

[16:32:39] ACTION: pmxi_after_post_import

[16:32:39] ---

[16:32:39] Record #49

[16:32:39] ACTION: pmxi_before_post_import ...

[16:32:39] Combine all data for post `Usual Suspects, The (1995)`...

[16:32:39] Find corresponding article among previously imported for post `Usual Suspects, The (1995)`...

[16:32:39] Duplicate post wasn't found with unique key `1741`...

[16:32:39] Applying filter `pmxi_article_data` for `Usual Suspects, The (1995)`

[16:32:39] CREATING `Usual Suspects, The (1995)` `Resource`

[16:32:39] Associate post `Usual Suspects, The (1995)` with current import ...

[16:32:39] CUSTOM FIELDS:

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `include_video` will be updated with value `1` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `“Compadres” tries to be a lighthearted cross-border buddy film, and sometimes it succeeds. But consistency is a problem — it doesn’t hit those humorous high notes often enough, and when it’s not in the comedic groove, it’s muddy. Omar Chaparro plays Garza, a Mexican police officer whose reckless style and contempt for authority soon make him a former Mexican police officer. Finding redemption means tracking down some crime syndicate loot that is already the subject of a dispute among rival thugs. Eventually Garza forms an alliance with a young American hacker (Joey Morgan) who played a small role in moving the hot money. Mr. Chaparro and Mr. Morgan trade obligatory insults on their way toward begrudging mutual respect, but they never quite find the buddy comfort zone attained by the best pairs in this genre. Some of the bad guys are amusing — one is inexplicably in clown makeup; another’s preferred weapon is a flamethrower. Eric Roberts turns up occasionally as an F.B.I. agent, but he’s never around long enough to make good use of his skills. There are laughs in this bilingual yarn, but the story grows convoluted, and Enrique Begne, the director, relies far too much on the stock cop-movie scene: heroes in a seemingly impossible fix, guns trained on them but no one firing. Ho-hum; here comes another miraculous escape.` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_url` will be updated with value `https://vimeo.com/153576` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `include_document` will be updated with value `1` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_synposis` will be updated with value `“Compadres” tries to be a lighthearted cross-border buddy film, and sometimes it succeeds. But consistency is a problem — it doesn’t hit those humorous high notes often enough, and when it’s not in the comedic groove, it’s muddy. Omar Chaparro plays Garza, a Mexican police officer whose reckless style and contempt for authority soon make him a former Mexican police officer. Finding redemption means tracking down some crime syndicate loot that is already the subject of a dispute among rival thugs. Eventually Garza forms an alliance with a young American hacker (Joey Morgan) who played a small role in moving the hot money. Mr. Chaparro and Mr. Morgan trade obligatory insults on their way toward begrudging mutual respect, but they never quite find the buddy comfort zone attained by the best pairs in this genre. Some of the bad guys are amusing — one is inexplicably in clown makeup; another’s preferred weapon is a flamethrower. Eric Roberts turns up occasionally as an F.B.I. agent, but he’s never around long enough to make good use of his skills. There are laughs in this bilingual yarn, but the story grows convoluted, and Enrique Begne, the director, relies far too much on the stock cop-movie scene: heroes in a seemingly impossible fix, guns trained on them but no one firing. Ho-hum; here comes another miraculous escape.` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `“Compadres” tries to be a lighthearted cross-border buddy film, and sometimes it succeeds. But consistency is a problem — it doesn’t hit those humorous high notes often enough, and when it’s not in the comedic groove, it’s muddy. Omar Chaparro plays Garza, a Mexican police officer whose reckless style and contempt for authority soon make him a former Mexican police officer. Finding redemption means tracking down some crime syndicate loot that is already the subject of a dispute among rival thugs. Eventually Garza forms an alliance with a young American hacker (Joey Morgan) who played a small role in moving the hot money. Mr. Chaparro and Mr. Morgan trade obligatory insults on their way toward begrudging mutual respect, but they never quite find the buddy comfort zone attained by the best pairs in this genre. Some of the bad guys are amusing — one is inexplicably in clown makeup; another’s preferred weapon is a flamethrower. Eric Roberts turns up occasionally as an F.B.I. agent, but he’s never around long enough to make good use of his skills. There are laughs in this bilingual yarn, but the story grows convoluted, and Enrique Begne, the director, relies far too much on the stock cop-movie scene: heroes in a seemingly impossible fix, guns trained on them but no one firing. Ho-hum; here comes another miraculous escape.` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `document_synopsis` will be updated with value `` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Usual Suspects, The (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] IMAGES:

[16:32:39] TAXONOMIES:

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[16:32:39] - Attempted to create parent Resource resource_category `Old testament`, duplicate detected. Importing Resource to existing `Old testament` resource_category, ID 670, slug `old-testament` ...

[16:32:39] - Attempted to create parent Resource resource_category `Revelation`, duplicate detected. Importing Resource to existing `Revelation` resource_category, ID 669, slug `revelation` ...

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[16:32:39] - Importing taxonomy `video_contributor` ...

[16:32:39] - Importing taxonomy `document_contributor` ...

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[16:32:39] ACTION: pmxi_saved_post

[16:32:39] ACTION: pmxi_after_post_import

[16:32:39] ---

[16:32:39] Record #50

[16:32:39] ACTION: pmxi_before_post_import ...

[16:32:39] Combine all data for post `Mighty Aphrodite (1995)`...

[16:32:39] Find corresponding article among previously imported for post `Mighty Aphrodite (1995)`...

[16:32:39] Duplicate post wasn't found with unique key `1742`...

[16:32:39] Applying filter `pmxi_article_data` for `Mighty Aphrodite (1995)`

[16:32:39] CREATING `Mighty Aphrodite (1995)` `Resource`

[16:32:39] Associate post `Mighty Aphrodite (1995)` with current import ...

[16:32:39] CUSTOM FIELDS:

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wc_memberships_use_custom_content_restricted_message` will be updated with value `no` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `subject` will be updated with value `This is what the punter will see` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_subject` will be updated with value `field_5b8fc2dd4bea4` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_include_document` will be updated with value `field_5b8fc36a4bea7` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `include_video` will be updated with value `1` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_include_video` will be updated with value `field_5b8fc47fb3ee0` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_contributor` will be updated with value `Paula Ggooder` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_contributor` will be updated with value `field_5b8af244eadab` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `You already know the big scenes will be awe-inspiring in “A Beautiful Planet” — how can your eyes not bug out when given 3-D views of Earth, taken from space, on a stories-high Imax screen? What’s surprising is how enjoyable the small moments are in this` will be updated with value `Bred from a crazy broodmare (“She was just mental,” one character says) and raised on an unkempt allotment in an unremarkable Welsh village, the gangly foal known as Dream Alliance seemed unlikely to set the racecourse on fire. Yet “he looked classy,” one of Dream’s many part owners, Brian Vokes, recalls. “He looked the part.” Spanning a decade of trepidation and triumph, “Dark Horse” is the thoroughly disarming story of that foal’s canter through the class barrier to challenge his Thoroughbred betters. Behind him, he dragged the hopes of a depressed former coal mining town forced back on its heels by the pit closures of the 1980s and the absence of financial alternatives. Unfolding with a sincerity that dares you to roll your eyes, this warmhearted documentary by Louise Osmond wallows in its working-class roots like a horse in clover. “It was Janet’s dream, it was,” Mr. Vokes says, referring to his wife, a barmaid and grocery-store cleaner who parlayed her passion for racing pigeons and whippets into a more ambitious adventure. When, in 2000, she determined to breed a racehorse, her pals down at the workingmen’s club were soon roped in, contributing the equivalent of $14 a week to pay for its upkeep and a fancy training school. They called themselves the Syndicate. Stitching together cheery oral testimonies and frustratingly fuzzy archive material, Ms. Osmond counters the sparseness of visual record with brisk re-enactments and a Welsh chorus of quipping cronies. Led by the indomitable Ms. Vokes, these characters — photographed in steady, unadorned close-ups by Benjamin Kracun — are natural storytellers. Captured in pub and living room, in hair salon and shed, their cozily unguarded recollections reinforce Ms. Osmond’s focus on blue-collar striving and us-versus-them nose-thumbing. This is sometimes overemphasized. (When Dream’s toffee-nosed trainer becomes a little choked up, the camera waits patiently as though eager to catch the glint of a tear.) Yet “Dark Horse” is a canny package that uses the classic structure of the sports-underdog story to deliver a glowing ode to community pride and the merits of collective action over individual gain. Scooting quickly past the brutality of steeplechasing, with its high rates of injury and death, Ms. Osmond lingers instead on the near-universal need to feel special. “All through my life, I’ve never really been me,” Ms. Vokes says, explaining how she felt submerged in the roles of sister, daughter and wife. A more cynical or mischievous filmmaker might have slipped Glen Campbell’s “Dreams of the Everyday Housewife” onto the soundtrack, but not Ms. Osmond. The villagers have a new foal named Impossible Dream, and she might be betting on a sequel. “Dark Horse” is rated PG (Parental guidance suggested). The cleanest, quickest, easiest-looking foal birth you’ve ever seen. Children will think it’s magic. Running time: 1 hour 26 minutes.` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_synposis` will be updated with value `field_5b8af2c73c9de` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `yt_or_vimeo` will be updated with value `Vimeo` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_yt_or_vimeo` will be updated with value `field_5b8af27a3c9dc` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_url` will be updated with value `https://vimeo.com/channels/staffpicks/154189` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_video_url` will be updated with value `field_5b8af2a73c9dd` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `document_private__url` will be updated with value `zlud7uvs9m9cwbpwxfmrcd0s2wcyz98` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_private__url` will be updated with value `field_5b8fc483749218` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `include_document` will be updated with value `1` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `video_synposis` will be updated with value `Bred from a crazy broodmare (“She was just mental,” one character says) and raised on an unkempt allotment in an unremarkable Welsh village, the gangly foal known as Dream Alliance seemed unlikely to set the racecourse on fire. Yet “he looked classy,” one of Dream’s many part owners, Brian Vokes, recalls. “He looked the part.” Spanning a decade of trepidation and triumph, “Dark Horse” is the thoroughly disarming story of that foal’s canter through the class barrier to challenge his Thoroughbred betters. Behind him, he dragged the hopes of a depressed former coal mining town forced back on its heels by the pit closures of the 1980s and the absence of financial alternatives. Unfolding with a sincerity that dares you to roll your eyes, this warmhearted documentary by Louise Osmond wallows in its working-class roots like a horse in clover. “It was Janet’s dream, it was,” Mr. Vokes says, referring to his wife, a barmaid and grocery-store cleaner who parlayed her passion for racing pigeons and whippets into a more ambitious adventure. When, in 2000, she determined to breed a racehorse, her pals down at the workingmen’s club were soon roped in, contributing the equivalent of $14 a week to pay for its upkeep and a fancy training school. They called themselves the Syndicate. Stitching together cheery oral testimonies and frustratingly fuzzy archive material, Ms. Osmond counters the sparseness of visual record with brisk re-enactments and a Welsh chorus of quipping cronies. Led by the indomitable Ms. Vokes, these characters — photographed in steady, unadorned close-ups by Benjamin Kracun — are natural storytellers. Captured in pub and living room, in hair salon and shed, their cozily unguarded recollections reinforce Ms. Osmond’s focus on blue-collar striving and us-versus-them nose-thumbing. This is sometimes overemphasized. (When Dream’s toffee-nosed trainer becomes a little choked up, the camera waits patiently as though eager to catch the glint of a tear.) Yet “Dark Horse” is a canny package that uses the classic structure of the sports-underdog story to deliver a glowing ode to community pride and the merits of collective action over individual gain. Scooting quickly past the brutality of steeplechasing, with its high rates of injury and death, Ms. Osmond lingers instead on the near-universal need to feel special. “All through my life, I’ve never really been me,” Ms. Vokes says, explaining how she felt submerged in the roles of sister, daughter and wife. A more cynical or mischievous filmmaker might have slipped Glen Campbell’s “Dreams of the Everyday Housewife” onto the soundtrack, but not Ms. Osmond. The villagers have a new foal named Impossible Dream, and she might be betting on a sequel. “Dark Horse” is rated PG (Parental guidance suggested). The cleanest, quickest, easiest-looking foal birth you’ve ever seen. Children will think it’s magic. Running time: 1 hour 26 minutes.` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wp_desired_post_slug` will be updated with value `sample-page` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `According to Kengo Hioki, the guitarist for and a founder of the punk band Peelander-Z, the group’s focus is 10 percent on music, 90 percent on theatrical style. Its gonzo stagecraft involves garish costumes and wild hairdos. The Japanese band members, mo` will be updated with value `Bred from a crazy broodmare (“She was just mental,” one character says) and raised on an unkempt allotment in an unremarkable Welsh village, the gangly foal known as Dream Alliance seemed unlikely to set the racecourse on fire. Yet “he looked classy,” one of Dream’s many part owners, Brian Vokes, recalls. “He looked the part.” Spanning a decade of trepidation and triumph, “Dark Horse” is the thoroughly disarming story of that foal’s canter through the class barrier to challenge his Thoroughbred betters. Behind him, he dragged the hopes of a depressed former coal mining town forced back on its heels by the pit closures of the 1980s and the absence of financial alternatives. Unfolding with a sincerity that dares you to roll your eyes, this warmhearted documentary by Louise Osmond wallows in its working-class roots like a horse in clover. “It was Janet’s dream, it was,” Mr. Vokes says, referring to his wife, a barmaid and grocery-store cleaner who parlayed her passion for racing pigeons and whippets into a more ambitious adventure. When, in 2000, she determined to breed a racehorse, her pals down at the workingmen’s club were soon roped in, contributing the equivalent of $14 a week to pay for its upkeep and a fancy training school. They called themselves the Syndicate. Stitching together cheery oral testimonies and frustratingly fuzzy archive material, Ms. Osmond counters the sparseness of visual record with brisk re-enactments and a Welsh chorus of quipping cronies. Led by the indomitable Ms. Vokes, these characters — photographed in steady, unadorned close-ups by Benjamin Kracun — are natural storytellers. Captured in pub and living room, in hair salon and shed, their cozily unguarded recollections reinforce Ms. Osmond’s focus on blue-collar striving and us-versus-them nose-thumbing. This is sometimes overemphasized. (When Dream’s toffee-nosed trainer becomes a little choked up, the camera waits patiently as though eager to catch the glint of a tear.) Yet “Dark Horse” is a canny package that uses the classic structure of the sports-underdog story to deliver a glowing ode to community pride and the merits of collective action over individual gain. Scooting quickly past the brutality of steeplechasing, with its high rates of injury and death, Ms. Osmond lingers instead on the near-universal need to feel special. “All through my life, I’ve never really been me,” Ms. Vokes says, explaining how she felt submerged in the roles of sister, daughter and wife. A more cynical or mischievous filmmaker might have slipped Glen Campbell’s “Dreams of the Everyday Housewife” onto the soundtrack, but not Ms. Osmond. The villagers have a new foal named Impossible Dream, and she might be betting on a sequel. “Dark Horse” is rated PG (Parental guidance suggested). The cleanest, quickest, easiest-looking foal birth you’ve ever seen. Children will think it’s magic. Running time: 1 hour 26 minutes.` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_contributor` will be updated with value `field_5b8fc423bfbb6` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `document_synopsis` will be updated with value `` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document_synopsis` will be updated with value `field_5b8fc2ec4bea5` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_document` will be updated with value `field_5b8fc3054bea6` for post `Mighty Aphrodite (1995)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] IMAGES:

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[16:32:39] - Attempted to create parent Resource resource_category `History`, duplicate detected. Importing Resource to existing `History` resource_category, ID 679, slug `history` ...

[16:32:39] - Attempted to create parent Resource resource_category `Revelation`, duplicate detected. Importing Resource to existing `Revelation` resource_category, ID 669, slug `revelation` ...

[16:32:39] - Importing taxonomy `video_contributor` ...

[16:32:39] - Importing taxonomy `document_contributor` ...

[16:32:39] CREATED `Mighty Aphrodite (1995)` `Resource` (ID: 2377)

[16:32:39] ACTION: pmxi_saved_post

[16:32:39] ACTION: pmxi_after_post_import

[16:32:39] ---

[16:32:39] Record #51

[16:32:39] ACTION: pmxi_before_post_import ...

[16:32:39] Combine all data for post `Lamerica (1994)`...

[16:32:39] Find corresponding article among previously imported for post `Lamerica (1994)`...

[16:32:39] Duplicate post wasn't found with unique key `1743`...

[16:32:39] Applying filter `pmxi_article_data` for `Lamerica (1994)`

[16:32:39] CREATING `Lamerica (1994)` `Resource`

[16:32:39] Associate post `Lamerica (1994)` with current import ...

[16:32:39] CUSTOM FIELDS:

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wp_page_template` will be updated with value `front-page.php` for post `Lamerica (1994)` ...

[16:32:39] - ACTION: pmxi_update_post_meta

[16:32:39] - ACTION: pmxi_custom_field

[16:32:39] - Custom field `_wc_memberships_force_public` will be updated with value `no` for post `Lamerica (1994)` ...

[16:32:39] - ACTION: pmxi_update_post_meta